S U M M E R E D I T I O N S.
ISSUE // 1
4 // E D I T I O N S
A little WORD FROM THE E D I T O R S. W E L C O M E to summer E D I T I O N S, our debut issue and correspondance to S/13 E D I T I O N S; a digital exhibtion. We held our first screening at the Glasgow ART SCHOOL in september, showcasing a cross section of talent from graduates & emerging artists from Glasgow, Edinburgh, Brooklyn & further afield. Here we take a closer look at a selection of our artists, we ask a few to reveal their practice and pick their brains on their influences. Our aim for E D I T I O N S quarterly exhibtions and of course this publication, is to provide an extensive free platform for artists to show & challenge their work not only amongst their peers but to an expanding online audience. We strive for visual & audio converstion, creativity & ongoing opportunities. We can make a safe bet that most of you artistic types do to. Join us and submit, we are always on the look out for new work wether it be sound, film, illustration, animation. Contact: submission.ed1@gmail.com GILLIAN CAREY R A C H A E L C. G A L L A C H E R
E D I T I O N S // 5
CE ON NT T S
8
CLAIRE A. FERGUSON
14
MICHAEL KELLY
25
IPG PROJECT
38
ROSIE SHEPLEY
48
RUTE VENTURA
60
JAMIE TURNER
80
INGRIDA DANIELIUTE
96
SCOTT WILLIS
98
GILLIAN CAREY
108 BRYAN M. FERGUSON 119 CONOR BAIRD 127 GARY MACKEAN 135 HAZEL GORE 147 JEFF EDWARDS 157 STEVEN REYNOLDS 169 NATASHA TODD 179 DANIELLE LYNCH 189 OUR EDITIONS 191 YOUR EDITIONS 192 ARTIST DIRECTORY
6 // E D I T I O N S
E D I T I O N S // 7
8 // E D I T I O N S
C L A I R E A. F E R G U S O N
5 M I N S N O.1
MINI MARSHALL AMP, LEAD, STUFFED FISH. Part of a series of Reconfiguration Sculptures for No Voice
E D I T I O N S // 9
10 // E D I T I O N S
Pe r f o r m a n ce. N a r r a t i ve. H u m o u r. A n x ie t y What I do falls prey to 5 options for categorisation: ‘humour’, ‘noise’, ‘performance’, ‘theories about stuff’ and ‘narrative’. Contemplation of the ridiculous, the unimaginable, and the completely absurd leads to certain uncertainties, however it is not all humour; I am 100% seriously committed to the absolute silliness of all my endeavours. (See Vermeulen’s Notes on Metamodernism) ‘Uncertainty’ stems from the loss of truth, accidental lies and a compulsive need to grasp at a reality whose foundation lies in subversion and fiction. ‘Fear’ of searching for things that are hidden but finding nothing and losing grip on reality. How real is real life anyway? This romanticised theory that I will one day discover a truth acts as a catalyst for research and exploration. As an artist and writer I work in a disjointed fashion by means of storytelling forms similar to folks such as Barry Yourgrau or Denise Levertov. There is a tangled mess of ideas and philosophies surrounding my practice,
including the existential realities and un-realities of the whole affair, which I attempt to deconstruct for your benefit as well as my own. Reference points include Janet Cardiff and Patrick Keiller and their altered realities/psychogeographical approaches, Matthew Sawyer and his adventures, Laurence Figgis’ fairytales, Barry Yourgrau’s surrealist writing and David Toop, the man who knows all about sound. Oh and Dave Hickey’s shagging dogs which remind us we need love songs. I often explore the world with audio devices, capturing sounds that coalesce with the writing of text before, during or after the event, the event being the capturing of the sound. My practice, therefore, is focused on bringing together two modes of working, the first being in the realm of sound art and technologies, the second – more romantic side- in narrative and storytelling.
E D I T I O N S // 11
12 // E D I T I O N S
// Ten Hidden Sounds is a CD of ten audio tracks recorded with a contact microphone at ten points around the block of Matthew Bown gallery, offering the listener a chance to hear sounds that would otherwise have been overlooked. Alongside this is a map, detailing the location of each sound, to be taken away as an audio tour.
E D I T I O N S // 13
// Arms
14 // E D I T I O N S
M I CHAEL KE LLY. I work from a small converted fire station in the village of Lochmaddy, on North Uist in Scotland. My work has developed out of exploring mediums for drawing: traditional materials like graphite, paint, canvas, and film, to our forming of concepts, ways we want to use objects, processes of stress and exposure, and ways we inhabit spaces and situations. I’m motivated to occupy and articulate the aesthetics of authority and the sacred, especially that of a “sublime spectator”, a sense of transcendent observing presence. Connected to this is a concern to disrupt power and force it to adapt.
E D I T I O N S // 15
// Plane 16 // E D I T I O N S
E D I T I O N S // 17
18 // E D I T I O N S
// Mandlebrot
E D I T I O N S // 19
// Judgement
20 // E D I T I O N S
E D I T I O N S // 21
// Untitled 22 // E D I T I O N S
E D I T I O N S // 23
24 // E D I T I O N S
IPG P R O J E C T IPG is an experimental collaborative project of artists Tamara and Yoshi Kametani. IPG’s projects are initiated by personal interest and curiosity for experience. Although our primary medium is photography we believe in cross-disciplinary approach to art. IPG works with reality as its subject matter and constantly questions its tangible nature. Although we use the techniques of documentarians to gather our visual material, we apply the tools of editing and sequencing to create a narrative, which becomes our artistic expression.
E D I T I O N S // 25
26 // E D I T I O N S
IN SEARCH OF THE C R Y I NG L A D Y Plačky [platchki] were professional mourners that used to be an essential part of the Slovak death ritual. They were hired by the family of the deceased and would start the mourning process by coming to the house where the body was laid out and lament until the day of the funeral. The ritual was seen to have magical powers that would secure a respectful and definite leave of the deceased’s spirit from the house and from this world. Plačky were usually older women – often widows that would perform in return for financial remuneration but also for beans or wheat.
In the summer of 2011 we set off on a search to find professional mourners in Slovakia. We found out that the tradition was no longer being practiced despite the insistence of locals that we spoke to along the way and the encouragement we received from ethnographers. During this journey, we encountered paradoxes of psychology behind keeping old traditions. We also examined the subject of death, rituals, and mourning. In Search of the Crying Lady essentially became a search for the non-existent, extinct tradition that had died before anyone who we came in contact with had realized. It had become a documentation of the road to failure.
E D I T I O N S // 27
28 // E D I T I O N S
E D I T I O N S // 29
30 // E D I T I O N S
E D I T I O N S // 31
32 // E D I T I O N S
E D I T I O N S // 33
34 // E D I T I O N S
E D I T I O N S // 35
36 // E D I T I O N S
E D I T I O N S // 37
38 // E D I T I O N S
My work explores a range of themes surrounding nature and its presence in and significance to human society. In particular I explore ideas of life, death and preservation as well as hybridity and the human fascination with nature through a variety of media including painting, printing, animation, photography, sculpture and installation.
ROSIE SHEPLEY
// Descending; Pen & Watercolour On Paper E D I T I O N S // 39
// Feather Formation; mono print on paper 40 // E D I T I O N S
E D I T I O N S // 41
/ /Human Animal; Digital Photograph
42 // E D I T I O N S
E D I T I O N S // 43
// Ritual preservation; Animation Still
44 // E D I T I O N S
E D I T I O N S // 45
46 // E D I T I O N S
// We Wanted Their Feathers To Bud From Our Flesh; Feather, Latex and Polystyrene Installation
E D I T I O N S // 47
48 // E D I T I O N S
RUTE VENTURA My work revolves around the human body and the feminine world. I create paintings, sculptures, video art and performances. My artwork is a reflection of my life experience: my reactions to the world, to what I pay attention to and consider interesting to depict into art. My selection of materials depends on the issues that the art project emphasizes and on the plasticity of materials that best portray those issues. My goal is to share emotions with the viewer, to demonstrate that the world is not only about day-to-day, the on-the-surface things, but also about our imaginations and feelings and how they influence us on a deeper level from day to day.
E D I T I O N S // 49
50 // E D I T I O N S
E D I T I O N S // 51
52 // E D I T I O N S
E D I T I O N S // 53
54 // E D I T I O N S
E D I T I O N S // 55
56 // E D I T I O N S
E D I T I O N S // 57
58 // E D I T I O N S
E E D I T I O N S // 59
60 // E D I T I O N S
J A M I E
T U R N E R
TALES FROM THE TOWNSHIP
E D I T I O N S // 61
62 // E D I T I O N S
E D I T I O N S // 63
64 // E D I T I O N S
E D I T I O N S // 65
66 // E D I T I O N S
E D I T I O N S // 67
68 // E D I T I O N S
E D I T I O N S // 69
Tales From the Township started as a series of black and white images; a documentary project aimed at offering an insight into life in an African Township. This insight was to be unique - removed from the African form long cemented in western media and culture. I wanted to escape from the image cultivated in my parents minds - war torn and mineral-rich nations; poverty-stricken and hopeless children; safari tours and all inclusive American holiday packages. When the project started however, I realised that it was not possible to document my experience in such a limited way. While black and white images can often communicate as much as any other tool, there were hugely important aspects missing. I began to capture sound recordings whilst taking photographs - something inspired by Sebastian Meyer. Video footage was made possible and allows for an even greater depth in what I was trying to document. The cornerstone of the project remained firmly within the 35mm images. Stark, and un-edited, they show things as they are - beautiful, natural, saddening, humorous. For the duration of the porject I stayed in the heart of Bangwe Township, Malawi, living in the small office of a homegrown NGO called AYISE. Everyday I taught at Julani Orphan Care, and in the afternoons I worked with other volunteers throughout the community. My regular presence meant that, before long, I became part of the township, documenting my own daily life.
70 // E D I T I O N S
E D I T I O N S // 71
E D I T I O N S // 75
76 // E D I T I O N S
E D I T I O N S // 77
78 // E D I T I O N S
E D I T I O N S // 79
80 // E D I T I O N S
THE DREAMERS E D I T I O N S // 81
INGRIDA DANIELIUTE Give us a little bit of background to your practice & photographic style...
Lithuanian born photographer Ingrida Danieliute is curently living & working in Glasgow having graduated this year from Edinburgh Napier with a BA (Hons) in photography & film. We chat with Danieliute to gain more insight into the idea’s and inspirations behind her expanding, emotionally cerebral series ‘The Dreamers’.
82 // E D I T I O N S
I developed a passion for the medium while still at high school and studying the subject was my plan for the last two years of school. I was involved in various art practices, I was playing instruments, attending art classes, so both music and visual arts have influenced me ever since. I began studying photography without having a specific style or approach to the medium – it’s been a four year journey of looking for and finding myself. From the very beginning of the course I knew I was happier doing fine art photography, I had a bigger interest in that, rather than commercial/fashion/documentary photography. However, having had to do all sorts of exercises that involved portraiture, landscape, using film and digital, etc have helped my style to develop. Only through trying out various styles and methods you can develop an understanding in what you want to do. Since I was studying at university, not an art school, we didn’t really have a highly creative community around, therefore, I was influenced by going to see various exhibitions and other creative events where I also met the majority of my friends. Looking at sculpture, performance, video and sound art, installations had and still have an influence on my own creative...
E D I T I O N S // 83
84 // E D I T I O N S
... thinking process as well as talking to my artist friends. Communication is very important. In general, I’m more influenced by texts and other creative practices rather than only photography itself. How do you approach your work? Do you set out with very specific ideas or do they form out of many different things you are doing? It depends really. But I am mainly setting myself a project at the time; I find it easier and more coherent to work that way. I have to give myself a discipline otherwise things can go messy! It doesn’t have to be a completely structured thesis I want to answer, but rather a good strong starting point which from I can then further develop my work and see whether certain approaches are acceptable for fulfilling the concept or not. It’s a nice thing about photography – you can alter things as much as you like until you reach the final result and even then you can take that image and re-apply it over and over again. However, having said that, I find myself to get inspired to do smaller different projects while working on something specific – it’s quite difficult to define, it’s a sort of a never stopping train of creative thinking.
E D I T I O N S // 85
There’s a mystique your subject matter for example the collection The Dreamers. Can you talk us through your ideas about these ‘unknown states’? Yes, that was intentional. I have been making imagery based on emotions of loneliness (not necessarily negative), isolation, the idea of listening to inner self. So it gradually developed to a state where I found myself combining that with my all time interest – dreams. I started reading S. Freud’s ‘ The Interpretation of Dreams’ and making myself some notes, it was a part of a research I did. So basically, after numerous photographic tests, I reached the point where I realised I want to make a series of portraits that would join the idea of meditation and process of listening to inner thoughts with dreams. This project in a way is my ‘Interpretation of Dreams’ itself. I decided to photograph artists of various practices in a mysterious approach, telling very little about them, only portraying them with an object of their own choice. I also have always been interested in the relationship between the image and the viewer. Therefore, I wanted people who look at images and to isolate themselves from whatever surrounding them, to sort of bring peace to their own heads, you know, and listen to their own thoughts. It’s a sort of therapeutic work I’ve made, or at least I would like to think so. Focusing on ‘The Dreamers’, its apparent you have quite a particular style. You aren’t allowing your sitters to give away a lot visually by cloaking them in black. What is the rationale in your object/prop choices? Are they personal to each sitter or personal to yourself? I didn’t want each person to be represented differently as I was interested in uniting them all together, I wanted to stress the emotion rather than who exactly they are. I wanted
86 // E D I T I O N S
to stress the emotion rather than who exactly they are. I wanted the viewers to come up with their own interpretations. So I went for the very minimalistic approach. And prop wise, each artist was told to bring an object that they think best represent their practice and their passion/dream, well, which obviously is their art. I had no influence when deciding about what to bring to the studio. Which was also interesting for me to see how people represent themselves, how a person defines them with ‘an object’, objectifying their whole practice. There seems to be reocurring themes and ideas through our your projects. Is this intentional? I definitely have a consistency in my work. A lot of my images carry the sense of loneliness, intended isolation. I like the idea of escapism. So these themes are constantly reoccurring in my practice. Do you feel text / creative writing has or could have the ability to move the work forward? Is writing something you engage with through your practice? I find text really important. It might as well be a result of university, since we were thought a lot about writing and importance of text in photography. But it helps to progress and express certain thoughts. Especially at research and beginning stages of the project - I have to write before I even take an image. If I’m working on a project, I always carry an ides notebook with me. Writing helps connect the dots.
E D I T I O N S // 87
Could you tell us a little bit about your current projects/exhibitions? Currently I’m in a thinking mode. I have a few ideas floating about in my head, so I can’t really speak a lot about it. It’s more of a research stage for me; or ‘The Dreamers’ stage – just need to listen to myself. For all I know is that I want to move a little bit further than stereotypical photography and push the boundaries a little bit further for myself. I am interested in the use of image and video so I intend to combine them together in my future work. Ingrida was featured in our S/13 exhibtion and you can view more of her work at, www.ingridadanieliute.tumblr.com or contact her at ingridadanieliute@yahoo.co.uk
88 // E D I T I O N S
E D I T I O N S // 89
90 // E D I T I O N S
E D I T I O N S // 93
94 // E D I T I O N S
E D I T I O N S // 95
96 // E D I T I O N S
Scot Willis. E 215 E D I T I O N S // 97
G I L L I A N C A R E Y
C’ M O N D O W N H E R E L O N E L Y H E A R T.
The series is a need for catharsis. In everyday life i’m emotionally led, naturally this translates into my working process leaving me with some what of a visual diary of needs, wants, loss, empathy. This small selection of images form a cross section. They are representative of episodes in time that saw great distance placed between close relationships & the want to repair, preserve.
98 // E D I T I O N S
// Paivi in her kitchen. Helsinki 2011
E D I T I O N S // 99
// Rachael at the top of the stairs. Glasgow 2010 100 // E D I T I O N S
E D I T I O N S // 101
// View East. View to the start. Glasgow. 2013 102 // E D I T I O N S
E D I T I O N S // 103
// First trip away. Blackpool. 2013
104 // E D I T I O N S
E D I T I O N S // 105
// Self Portrait. Helsinki. 2011
106 // E D I T I O N S
// A mirror image. Unknow.n. Berlin 2008
E D I T I O N S // 107
B R Y A N M. F E R G U S O N Bryan is a Photographer & filmmaker from Glasgow that came about the medium through frustrations with film projects and loves the challenge of a single frame. I’m not sure how I’d describe my work, it’s difficult for me to look at my work objectively. I find it uncomfortable to really talk about it in such a way. I find my films often focus on psychological disarray or the abstruse side of sexual perversion and I believe aspects of this seeps into my photography and it can at times be quite dark but in a more implicit way.
108 // E D I T I O N S
The vast majority of my images have quite a cinematic feel. Another thing that’s consistent is my use of light, shadows and colour. I’ve always found it interesting to create a visual cast in shadows but to have colour bleed into the image or to have a bright and colourful image with an offbeat focal point with something foreboding under the skin of the photograph.
E D I T I O N S // 109
110 // E D I T I O N S
E D I T I O N S // 111
112 // E D I T I O N S
E D I T I O N S // 113
114 // E D I T I O N S
E D I T I O N S // 115
116 // E D I T I O N S
E D I T I O N S // 117
118 // E D I T I O N S
C O N O R B A I R D Within my practice I am on a constant quest for catharsis and triumph, to find healing moments from honest experiences. These moments can be documented and displayed through such means as photography, video and recorded audio. Or they happen directly in the audience’s presence through live performance. In the live work, it is an unstable and vulnerable process; time becomes a material wherein I react to my desires, instincts and doubts, allowing me to produce a whirlwind of emotions.
There are private epiphanies and fantasies within myself that are extracted. It can be calm and it can be confrontational - I am expressing but also questioning my own sense of behaviour in life, whether that is natural behaviour or nurtured. Thus, the work can then hopefully be a mirror for others.
E D I T I O N S // 119
PARTS I PERVERSELY LUST FOR (M Y B O D Y A S A D I A G R A M )
120 // E D I T I O N S
122 // E D I T I O N S
E D I T I O N S // 123
124 // E D I T I O N S
E D I T I O N S // 125
126 // E D I T I O N S
GARY MACKEAN Gary Mackean, Also known as “the boy who draws monsters�, is an Edinburgh based illustrator originally from Fife. Gary works in a variety of different mediums but predominantly with acrylic and watercolour paints on found pieces of wood.
The themes of his work include Scottish Wildlife, the myths and legends of the Sea, Fairy tale inspired monsters and other fictional characters. He is currently working on a number of projects such as his Frankenstein inspired animal book series Frankenhare, A weekly webcomic entitled Barnaby and Loaker and another book that will showcase his sea monsters and Scottish animal paintings.
E D I T I O N S // 127
128 // E D I T I O N S
E D I T I O N S // 129
132 // E D I T I O N S
E D I T I O N S // 133
134 // E D I T I O N S
H A Z E L G O R E Hazel Gore is a Glasgow based artist who graduated from The Glasgow School of Art in 2010. She specialises in producing drawings and paintings to create small, intricate, dream-like images which usually convey fictional characters and/or scenarios. Hazel also directs and produces short, surreal films which have been screened in venues in cities from all over the world, including Venice, San Francisco, Sydney and London.
‘I specialise in drawing and painting to create small, intricate, dream-like images that usually convey fictional characters and/or scenarios. I also write, direct and produce short, surreal films. My practice often begins with writing, creating characters, and coming up with narrative stories, even if the narratives are slightly ambiguous. There’s always a story behind each tableaux in my drawings. My characters are usually metaphorical and symbolic such as ‘Tangerine Woman,’ ‘Negative Head,’ and ‘Poison Ivy.’ Some of the characters that I have created reappear in various different drawings and some of have gone through the transition of drawing, to video, and back to drawing again.’
E D I T I O N S // 135
136 // E D I T I O N S
E D I T I O N S // 137
138 // E D I T I O N S
140 // E D I T I O N S
E D I T I O N S // 141
142 // E D I T I O N S
E D I T I O N S // 143
144 // E D I T I O N S
E D I T I O N S // 145
146 // E D I T I O N S
JEFF EDWARDS
E D I T I O N S // 147
148 // E D I T I O N S
E D I T I O N S // 149
152 // E D I T I O N S
E D I T I O N S // 153
154 // E D I T I O N S
E D I T I O N S // 155
156 // E D I T I O N S
STEVEN REYNOLDS Is an Artist based in Leith who currently works with Neu Reekie and the Demarco Art Foundation. These images of Caledonia are scanned and then processed through a destructive algorithm, producing sections reminiscent of a bar code – which visually relates to (C aledonia) ideas of trade and the perennial illusion of financial control. A similar illusory impulse can often be found in Modernist photogIs a small island in the Darien Region of raphy, under the guise of veracity and picPanama, a remnant of the failed Scottish torial fidelity. expedition to create a trade corridor that would give Scotland the financial “keys to These images are an attempt to come to the universe”. terms with these themes and to further ex-
(4 L 3 D 0 | \ |14
plore the possibilities of the Post Modern photographic image – which may or may not exist.
E D I T I O N S // 157
158 // E D I T I O N S
E D I T I O N S // 159
160 // E D I T I O N S
E D I T I O N S // 161
162 // E D I T I O N S
E D I T I O N S // 163
164 // E D I T I O N S
168 // E D I T I O N S
N A T A S H A T O D D “Connected Cities” was a personal biography of the places I have grown up: London, Edinburgh and Dundee. For this series, combinations of colour were brought together through abstract and minimalist forms derived from the built environment of connected cities. As it developed the forms and compositions became more instinctive as I captured the essence of each city from my memory. The three dimensional shapes are inspired by the architecture of the particular city, while the colour palette of each piece is evocative of my experiences. The colours and shapes harmonise within each piece and flow across from one to another. The tones of the specific palette in each painting, and in the series as a whole, are delicately balanced and are my impressions of the place.
‘C O N N E C T E D C I T I E S‘
I am interested in the ways in which viewers engage with the works, finding their own interpretations and seeing how the colours and shapes can resonate with their sense of place. This creates a connection between myself and the viewer, whether their experience is long lived or transient.
E D I T I O N S // 169
170 // E D I T I O N S
E D I T I O N S // 171
172 // E D I T I O N S
E D I T I O N S // 173
174 // E D I T I O N S
E D I T I O N S // 175
176 // E D I T I O N S
178 // E D I T I O N S
DANIELLE LYNCH I was have always been interested in exploring a body of work based on botanical drawing and from this my research led to the study of patterns and systems. During the final year of my degree, and having come across the work of Hiroyuki Doi’s circle drawings, I began a body of work which would inevitably lead to an obsession with the occupation of time. I interpret line through obsessive and labour intensive marks. My works explores the chaotic beauty of repetition, layering and pattern making . I often draw man made and mass produced objects, then exploit and repeat these marks until they inevitably coalesce to form large-scale organic landscapes.
E D I T I O N S // 179
Recently, my work has moved to smaller scaled spontaneous works. Automatic drawing has always played a role, however, there has been shift in the element of chance and autonomy .By initially removing the pencil as a starting point of the work, an element of ‘chance’ has been placed in the trust of materials. My most recent work has focused predominately on line, marks and circles. Doi has said that;
“Now that we are living in the age of computerized society,I believe human work using human hands has to be emphasized more”
The repetitive nature of my work offers a space for thinking and meditation echoing Hiroyuki Doi’s ideals. This allows the work to evolve organically. The often microscopic elements of the drawings eventually grow across the vastness of the paper with repetition and unplanned composition producing the end result. The relationship between the work and artist becomes clearer and as the work grows the interaction of that relationship is evident in the end result.
Drawing and paper art are central to my practice. The drawing process is time consuming. Structure and composition derive from interaction with materials, with areas of untouched paper and negative space becoming as important as the physical image. Working meditatively and with everyday materials, I use line as a tool to physically manifest the documentation of time while maintaining the notion of an unknown outcome. Born in Dublin Lynch currently lives and work between Co.Wicklow and Edinburgh. Having recently graduated from BA (Hons) in Visual Arts Practice at I.A.D.T Dun Laoghaire, Co.Dublin, she is looking to expand on experiences and on her portfolio.
180 // E D I T I O N S
E D I T I O N S // 181
Can you give us a little bit about the background to your practice? My work is mainly drawing based but I have been known to dabble in printmaking. If the work is growing in a way that would suit a certain medium I’m always open to trying it but since college I’ve not moved very far away drawing. Chance played a big role in the way I currently work. In second year of art school I took a year out. I was pretty uninspired and unmotivated with the work I was doing. At the time I was working with video and installation making work that I didnt enjoy or could even talk about. I moved to London for a few months and did an editorial internship. When I went back to college the following year, I knew drawing was what I wanted to work at and started experimenting.
Initially these drawings could be mistaken for biological studies however, when a little more time is spent with them, we are made aware of the randomness of the pattern created and your labour intensive approach to their construction. Could you elaborate on the time spent with these drawings as I find that to be of great interest? Are they created out of isolation? Do you come back to them time and time again? Revisiting & expanding on your constructs?
The most difficult thing about creating something new is very often just starting it.A blank page is Your physically intensive approach to draw- exciting because you don’t know whats going to ing holds considerable importance, not only happen and it’s also extremely intimidating. After in regards to the context of the drawings but a few months of not making work,I went back to also your technique and aesthetic. Talk us experimenting with mark making. When somethrough your process... thing came to together and seemed to work for me I went with it. Some of the drawings, I would complete in one sitting, others I have to revisit. The approach I take to drawing and my work Funnily if I find myself repetiting similar marks or has developed a lot over the last few years. taking the same direction too many times I will Going through art school where you are ex- take a break and revisit, which is strange because pected to always have a concept to your work most of my work is random but repetition also and to always be pushing that concept be- plays a big part. The end result can sometimes be came quite exhausting for me. I realised that very topopgrahical which is what I enjoy about it.I actually the way I was approaching the work like that the viewer can spend time with it and nowas the concept. I read in a magazine once tice small isolated marks and patterns. about an artist(I cant remember the name) who got so involved in his work and the time it took that it became almost a phyical manifestation of time, and thats how I now feel about my concept and my work. I enjoy starting a new piece not knowing what way it will end in terms if composition or the marks made. I will keep at it until I feel its complete.I guess in that way , you get into a very meditative state and begin to enjoy and become a little obsesseed by the repetition and labour intensive marks, but it’s usually worth it in the end. 182 // E D I T I O N S
E D I T I O N S // 183
Tell us about the planning that goes into the work & its aesthetic. Are there patterns that you purposfully reincorporate? Do you plan your intricate contructs beforehand or do they come from an organic, spontaneous place? The circular lunar shapes materialised from experimeting with inks and oils. These have to be constructed initially and they allow the drawings to start and create a focal point that I can move away from or keep returning to.It has become a natural starting point for me. The marks and drawing surrounding these shapes flow organically from them.I generally don’t plan anything. I leave the starting point entirely up to chance.I play around with a few different ways of creating a surface or a pattern and once I find this, I begin drawing.
interested in things like repetition, multiples and pattern as well as the organic nature of drawing. After years of trying to making my work ‘fit’ in an educational setting I started looking at other areas the work could live in. More than anything I enjoy the visual aspect to the drawings. That for me is the main reason I do it. It is a visual communication of time, especially if I’m working on a particularly large What sort of research has influences you? piece. Patterns in nature and life and artists like I could tell you so much about how I got to this Daniel Zeller and Hiroyuki Doi who create beautiful point, but I won’t bore you. As an overall look at time consuming drawings are a big influence on my work.. how I got here-well I’ve always been... 184 // E D I T I O N S
Do you have any more work or plans coming to fruition in the near furture? I am hoping to take part in a few exhibitions in Ireland and the UK over the next few months. At the moment, I am still making work and experiementing. For the last 2 years (ince I moved to the UK) I have been involved in a postal art project with a group of artists in Wickow and this is ongoing. We have managed to secure some funding from the Irish Arts Council so there’s a a few different things in the pipeline.
E D I T I O N S // 185
186// E D I T I O N S
E D I T I O N S // 187
LIST OF ARTISTS Conor Baird conorbaird.com Diane Bishop bishop.diane@gmail.com Sarah Bouton sarah-boulton.co.uk Gillian Carey gilliancarey.com Ingrida Danieliute ingridadanieliute.tumblr.com Jeff Edwards jeffedwardsphotography.com Stan Farrow stanfarrow.com Clair Adams Ferguson clairadamsferguson.co.uk Brian M. Ferguson brainmferguson.com Hazel Gore hazelgoreart.co.uk Tom Hatton tom-hatton.co.uk IPG Project ipgproject.com Michael Kelly onbeingananimal.com
188 // E D I T I O N S
Zhan Liang (Ray) zhanliandray.co.uk Danielle Lynch dani.lynch.26@gmail.com Gary Mackean garymackean.blogspot.co.uk Declan Malone Declanmalonephotography.wordpress.com Gordon Miller gmillerart.squarespace.com Michael Mulready michaelmulready@yahoo.co.uk Steven Reynolds stevenreynolds@gmail.com Francesca Reiss francescariessphotgraphy.blogspot.co.uk Rosie Sheply rosiesheply.tumblr.com Natasha todd natashatodd@gmail.com James Turner jamesdrewturner.com Rute Ventura ruteventura.com Scott Willis scottwill_7@hotmail.com
E D I T I O N S // 189
Rachael Gallacher, 24, graduated from Glasgow School of Art in 2011. After a brief stint of working with Wei-Ling galleries in Kuala Lumpur, Malaysia She returned to Scotland to re-engage with the Glasgow arts community and pursue her artworks. She is a key member of the artist collective 2/1/4/1 and co-found of E D I T I O N S a digital exhibition and publication project based in Glasgow. Her work primarily focuses on the photographic documentation of spaces she has worked within or onto. Professionally She is working toward building a career in arts education. Her work can be seen here www.rachaelcgallacher.com
190 // E D I T I O N S
Gillian Carey, 25, graduated from Edinburgh College of Art in 2010. Carey has been working primarily with photography in her practice for the past 7 years. She has been exhibited in Brooklyn, London, Glasgow and Krakow. Carey is co-found of E D I T I O N S a digital exhibition and publication project based in Glasgow. More of her work can be seen here www.gilliancarey.com
E D I T I O N S // 191