Calum McClure | In These Places | 3-27 October 2018 | The Scottish Gallery

IN THESE PLACES

Calum McClure

IN THESE PLACES

16 DUNDAS STREET EDINBURGH EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk scottish-gallery.co.uk

3 – 27 OCTOBER 2018

Calum McClure

WELCOME

This is Calum McClure’s fifth solo exhibition with The Scottish Gallery and in this new body of work he continues his exploration of landscape and public space in a series of oil paintings and monotypes. Across the two mediums and with a range of stylistic approaches, he has created an exhibition of poignant, beautiful and ambitious work reinforcing his position as an artist fully engaged with contemporary ideas at the forefront of Scottish painting.

THE ARTIST IN HIS STUDIO 2018

2

Beginning by taking photographs, McClure abstracts and simplifies images and compositions, distilling them, seeking the underlying atmosphere of the given place.

In his small monotypes, a deft, delicate touch accompanies a reductive handling of the medium. He makes these pieces using a steel plate as a surface, onto which printing inks are applied. Areas can be worked into repeatedly, wiped, inked, re-worked, and contemplated, before the final rendition is run through the press.

The places McClure has chosen as source imagery for the exhibition are all public, in particular gardens, places away from billboards and the pressures of consumerism; spaces which people enter for rest and recreation; in the case of botanic gardens, places of education and study; contemplative places.

There are many depictions of hothouses, especially those from Kew Gardens in London, in which the plants seem to outgrow their glass and iron houses. There is also an influence from Japanese prints in such works as Japanese Window (cat. 14). Here he has taken a print, which he saw in the British Museum and abstracted it, using various elements and colours from the original composition. A number of pieces focus on old abandoned country estates such as that of Valleyfield in Fife, evidence of the sometimes-temporary nature of particular power and wealth but perhaps also reminders that such power and wealth still exist elsewhere in the world today.

This exhibition is freer stylistically than any of his previous shows at The Gallery. His oil painting has become more colourful and lucid, as the dialogue with the monotype process continues. The palette has also changed to include various blues, with flashes of red and yellow, as point and counterpoint to his broad, luminous colour-field areas.

The thinned oil hints at oriental ink drawing and creates subtly undulating areas of light and shadow. Worked without preparatory sketches, these pieces are serendipitous, impulsive and spontaneous.

IN THESE PLACES

3

IN CONVERSATION

Tommy Zyw: Calum, could you explain a little bit about your choice of exhibition title and the subject matter you have focused on for this exhibition?

Calum McClure: I think a sense of place has always been very important to me. In simple terms my work is about capturing particular moods and the atmosphere of certain places. I find it interesting that even from cropped photographs or montaged images on television you sometimes have that reaction, ‘I know where that is’. It’s that feeling, which I keep returning to as I work on any piece and if it doesn’t do that for me then it isn’t successful.

TZ: What is it about the manufactured landscape, rather than the wilderness, that you are drawn to in particular?

CM: I am interested in public spaces because of the ways people use them. We are drawn there for various reasons, perhaps most often for respite from the urban sprawl.

Although figures rarely feature in my work, I always want to allude to their presence, as if someone has just passed through the place. Botanical gardens are of particular interest because they tell us a lot about ourselves: the need to classify and bring order to a chaotic world; a want for nature to be close to us and brought into our towns and cities; or a desire to use these places for recreation and reflection.

TZ: There is great variety in your work between representation and abstraction. Are your artworks always based on observation?

CM: The process begins when I go for walks and take photographs, occasionally sketch and make watercolours.

After that the photographs are printed and laid out on my studio floor and I then select which ones I will work from.

This can be a handful at once. Sometimes I work from multiple photographs, especially for the abstract pieces.

All the work is however still rooted in observation, yes, and although they become abstract paintings I still want to retain the original atmosphere, capture the interesting form of a tree, accentuate a given shape or intense colour.

4

TZ: In the last few years printmaking has become an important part of your artistic practice. Could you tell me a little bit more about this, and in particular what influence the print studio and monotypes have had on your image making?

CM: Joining Glasgow Print Studio is definitely one of the best things I have done for my practice. It has opened up a whole variety of different modes of expression and loosened up my style in general. This has, in-turn, fed back into my painting.

The staff and technicians are brilliant there. It can be quite a solitary life as an artist in the studio, so it is great to be part of this gregarious, meritocratic, skills-based environment on a weekly basis. I was also very pleased to have had a solo exhibition with them earlier this year as it is an amazing and prestigious space to be offered to exhibit in. More specifically, producing monotypes and the fluid way I use the process has influenced my painting a lot and I work more loosely now, using fields of colour and thinned paint in layers to produce the subtle play of light I want to achieve.

TZ: Could you tell me about your daily practice? Are all works created in the studio?

CM: A typical day will start with answering emails and admin, after which I make my way into my studio in the Barras. I work on a number of paintings at once, sometimes up to as many as six. I find that working intensely on pieces for short periods usually works better for me, interspersed with looking at and contemplating what I have put down already and deciding where I want to take the painting next.

Often, I split my day between my painting studio and the print studio. It can be quite beneficial to warm up, as it were, making a small monotype and then go over to paint in the afternoon. I rarely slog at one painting or print for an entire day, I find that boring and I lose the freshness and spontaneity I am trying to retain.

IN THESE PLACES

5

1. FISSURE IN BLUE OIL ON CANVAS 200 X 160 CM

6

IN THESE PLACES

7

2. SUNDAY WALK, VICTORIA PARK OIL ON CANVAS 120 X 180 CM

8

IN THESE PLACES

9

3. THE QUIET WOOD OIL ON CANVAS 120 X 150 CM

10

IN THESE PLACES

11

4. DEEP POOL OIL ON CANVAS 150 X 120 CM

12

IN THESE PLACES

13

5. BENMORE VISTA, ABSTRACT OIL ON CANVAS 150 X 120 CM

14

IN THESE PLACES

15

6. SCAFFOLDED PAGODA, KEW GARDENS OIL ON CANVAS 150 X 120 CM

16

IN THESE PLACES

17

7. CLEARING AND ARCHING BRANCHES OIL ON CANVAS 120 X 100 CM

18

IN THESE PLACES

19

8. PALM HOUSE, KEW GARDENS OIL ON CANVAS 120 X 100 CM

20

IN THESE PLACES

21

9. HOTHOUSE BLUE, KEW GARDENS OIL ON CANVAS 120 X 100 CM

22

IN THESE PLACES

23

10. BETWEEN THE HOTHOUSES OIL ON CANVAS 60 X 70 CM

24

IN THESE PLACES

25

11. RIVER AT DAWN OIL ON CANVAS 70 X 60 CM

26

IN THESE PLACES

27

12. THE BARBICAN CONSERVATORY OIL ON CANVAS 50 X 60 CM

28

IN THESE PLACES

29

13. BRANCH TRACERY, WATERLOW PARK OIL ON CANVAS 60 X 50 CM

30

IN THESE PLACES

31

14. JAPANESE WINDOW OIL ON CANVAS 60 X 50 CM

32

IN THESE PLACES

33

15. BATHING CABIN, NYON OIL ON CANVAS 40 X 50 CM

34

IN THESE PLACES

35

16. DUSK PAINTING OIL ON CANVAS 50 X 40 CM

36

IN THESE PLACES

37

17. PASSING RAIN OIL ON CANVAS 50 X 40 CM

38

IN THESE PLACES

39

18. HOT SHADOWS, COOL LIGHT OIL ON CANVAS 40 X 30 CM

40

IN THESE PLACES

41

19. EARLY AUTUMN OIL ON CANVAS 40 X 30 CM

42

IN THESE PLACES

43

20. BENMORE SUNRISE (HOMAGE TO HOWARD HODGKIN) OIL ON CANVAS 24 X 30 CM

44

IN THESE PLACES

45

21. PLANT AND LADDER OIL ON CANVAS 24 X 30 CM

46

IN THESE PLACES

47

22. TALL TREES OIL ON CANVAS 18 X 24 CM

48

IN THESE PLACES

49

23. TWO BRANCHES, KEW GARDENS OIL ON CANVAS 18 X 24 CM

50

IN THESE PLACES

51

24. TREES, KEW OIL ON CANVAS 24 X 18 CM

52

IN THESE PLACES

53

25. ROSE COLOURED TREE OIL ON CANVAS 24 X 18 CM

54

IN THESE PLACES

55

26. INSIDE THE FOREST OIL ON CANVAS 20 X 20 CM

56

IN THESE PLACES

57

27. RAIN ON THE HILLSIDE OIL ON CANVAS 20 X 20 CM

58

IN THESE PLACES

59

28. BATHING POND, AUTUMN, HAMPSTEAD HEATH OIL ON CANVAS 18 X 13 CM

60

IN THESE PLACES

61

29. LEAVES OVER THE WATER OIL ON CANVAS 18 X 13 CM

62

IN THESE PLACES

63

30. UNDER THE MOUNTAIN, ABSTRACT MONOTYPE 92 X 92 CM

64

IN THESE PLACES

65

31. DISTINCTIVE TREE, QUEEN'S PARK MONOTYPE 92 X 92 CM

66

IN THESE PLACES

67

32. FADING LIGHT, KEW GARDENS MONOTYPE 92 X 92 CM

68

IN THESE PLACES

69

33. PALM HOUSE NOCTURNE MONOTYPE 92 X 92 CM

70

IN THESE PLACES

71

34. BRANCHES, VICTORIA PARK MONOTYPE 25 X 35 CM

72

IN THESE PLACES

73

35. BLUE IN PATCHES MONOTYPE 17.5 X 17.5 CM

74

IN THESE PLACES

75

36. PALM HOUSE ARCH MONOTYPE 17.5 X 17.5 CM

76

IN THESE PLACES

77

37. ARCHING BRANCHES MONOTYPE 17.5 X 17.5 CM

78

IN THESE PLACES

79

38. HOTHOUSE KEW, ABSTRACT MONOTYPE 17.5 X 17.5 CM

80

IN THESE PLACES

81

39. THE CLEARING MONOTYPE 17.5 X 17.5 CM

82

IN THESE PLACES

83

40. ALL THAT ORANGE MONOTYPE 17.5 X 17.5 CM

84

IN THESE PLACES

85

41. YELLOW AND BLACK MONOTYPE 17.5 X 17.5 CM

86

IN THESE PLACES

87

42. TILTING TREE, YELLOW MONOTYPE 17.5 X 17.5 CM

88

IN THESE PLACES

89

43. SUN FROM THE WINDOW MONOTYPE 17.5 X 17.5 CM

90

IN THESE PLACES

91

44. PALM HOUSE MIST MONOTYPE 17.5 X 17.5 CM

92

IN THESE PLACES

93

INDEX OIL ON CANVAS 1. FISSURE IN BLUE 200 X 160 CM

2. SUNDAY WALK, VICTORIA PARK 120 X 180 CM

3. THE QUIET WOOD 120 X 150 CM

4. DEEP POOL 150 X 120 CM

5. BENMORE VISTA, ABSTRACT 150 X 120 CM

6. SCAFFOLDED PAGODA, KEW GARDENS 150 X 120 CM

7. CLEARING AND ARCHING BRANCHES 120 X 100 CM

8. PALM HOUSE, KEW GARDENS 120 X 100 CM

9. HOTHOUSE BLUE, KEW GARDENS 120 X 100 CM

10. BETWEEN THE HOTHOUSES 60 X 70 CM

11. RIVER AT DAWN 70 X 60 CM

12. THE BARBICAN CONSERVATORY 50 X 60 CM

13. BRANCH TRACERY, WATERLOW PARK 60 X 50 CM

14. JAPANESE WINDOW 60 X 50 CM

15. BATHING CABIN, NYON 40 X 50 CM

16. DUSK PAINTING 50 X 40 CM

94

17. PASSING RAIN 50 X 40 CM

18. HOT SHADOWS, COOL LIGHT 40 X 30 CM

19. EARLY AUTUMN 40 X 30 CM

20. BENMORE SUNRISE

21. PLANT AND LADDER 24 X 30 CM

22. TALL TREES 18 X 24 CM

23. TWO BRANCHES, KEW GARDENS 18 X 24 CM

24. TREES, KEW 24 X 18 CM

25. ROSE COLOURED TREE 24 X 18 CM

26. INSIDE THE FOREST 20 X 20 CM

27. RAIN ON THE HILLSIDE 20 X 20 CM

28. BATHING POND, AUTUMN, HAMPSTEAD HEATH 18 X 13 CM

31. DISTINCTIVE TREE, QUEEN'S PARK 92 X 92 CM

32. FADING LIGHT, KEW GARDENS 92 X 92 CM

(HOMAGE TO HOWARD HODGKIN)

24 X 30 CM

MONOTYPE 29. LEAVES OVER THE WATER 18 X 13 CM

30. UNDER THE MOUNTAIN, ABSTRACT 92 X 92 CM

IN THESE PLACES

95

INDEX 33. PALM HOUSE NOCTURNE 92 X 92 CM

34. BRANCHES, VICTORIA PARK 25 X 35 CM

35. BLUE IN PATCHES 17.5 X 17.5 CM

36. PALM HOUSE ARCH 17.5 X 17.5 CM

37. ARCHING BRANCHES 17.5 X 17.5 CM

38. HOTHOUSE KEW, ABSTRACT 17.5 X 17.5 CM

39. THE CLEARING 17.5 X 17.5 CM

40. ALL THAT ORANGE 17.5 X 17.5 CM

41. YELLOW AND BLACK 17.5 X 17.5 CM

42. TILTING TREE, YELLOW 17.5 X 17.5 CM

43. SUN FROM THE WINDOW 17.5 X 17.5 CM

44. PALM HOUSE MIST 17.5 X 17.5 CM

96

BIOGRAPHY Born 1987 in Edinburgh.

Graduated in Drawing and Painting from Edinburgh College of Art 2010.

SOLO EXHIBITIONS 2011 NEW PAINTINGS AND DRAWINGS The Scottish Gallery, Edinburgh 2013 MONOTYPES The Scottish Gallery, Edinburgh 2014 REFLECTION The Scottish Gallery, Edinburgh 2016 NOCTURNES AND BOTANICS The Scottish Gallery, Edinburgh 2018 SOMEWHERE BECOMING RAIN Glasgow Print Studio IN THESE PLACES The Scottish Gallery, Edinburgh

IN THESE PLACES

GROUP EXHIBITIONS 2010 GRADUATES 2010 A selection of work by six UK art college graduates Albemarle Gallery, London

THE VIEW FROM THE TRAIN Glasgow Print Studio OUT OF THE WOOD Groundwork Gallery, King’s Lynn

RSA OPEN EXHIBITION Royal Scottish Academy, Edinburgh

FLY 2016 Visual Arts Scotland, Edinburgh

2011 NEW CONTEMPORARIES Royal Scottish Academy, Edinburgh

2017 SMALL IS BEAUTIFUL Flowers, London

ART TORONTO 11TH INTERNATIONAL ART FAIR Toronto, Canada (with The Scottish Gallery, Edinburgh) RSA OPEN EXHIBITION Royal Scottish Academy, Edinburgh 2012 SUMMER EXHIBITION Royal Academy of Arts, London (invited artist section – curated by Barbara Rae RA)

SPRING – LOOKING AT THE NEW Candida Stevens Gallery, West Sussex GENERATIONS OF COLOUR Tatha Gallery, Newport-on-Tay GOOD NATURE Candida Stevens Gallery, West Sussex 2018 GLASGOW IN PRINT Glasgow Print Studio AWARDS

2015 SUMMER EXHIBITION Royal Academy of Arts, London

2011 THE JOLOMO BANK OF SCOTLAND AWARD (for landscape painting)

2016 SUMMER EXHIBITION Royal Academy of Arts, London

2016 W GORDON SMITH AWARD (Runner-up)

97

PRESS & PUBLICATIONS 2010 MEAT HOOK, ECA EXHIBITION review by Ben Bennett, The Skinny ECA DEGREE SHOW EXHIBITION review by Duncan Macmillan, The Scotsman 2011 AN ESTATE OF MIND article by Susan Mansfield following the announcement of the Jolomo Painting Award, The Scotsman 2012 Calum McClure on how winning the Jolomo Award has changed his Life, article by Susan Mansfield, The Scotsman

Published by The Scottish Gallery to coincide with the exhibition Calum McClure In These Places 3 – 27 October 2018 Exhibition can be viewed online at www.scottish-gallery.co.uk/calummcclure ISBN: 978 1 910267 89 9 Designed by Andrew Bell behance.net/andrewbelldesigns Photography by John McKenzie Printed by Pure Print All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

This is Calum McClure’s fifth solo exhibition with The Scottish Gallery and in this new body of work he continues his exploration of landscape and public space in a series of oil paintings and monotypes. Across the two mediums and with a range of stylistic approaches, he has created an exhibition of poignant, beautiful and ambitious work reinforcing his position as an artist fully engaged with contemporary ideas at the forefront of Scottish painting.