Cass has been in thrall to the wonder and beauty of the sea for as long as he can remember and since he has looked with an artist’s eye – to enhance, edit and interpret – he has been struck by the conundrum of the horizon.
David Cass THE
SCOTTISH
GALLERY
CONTEMPORARY ART SINCE 1842
Rising
Horizon
30.01.19—23.02.19 The Scottish Gallery • Contemporary Art Since 1842 16 Dundas Street • Edinburgh EH3 6HZ +44 (0) 131 558 1200 • mail@scottish-gallery.co.uk scottish-gallery.co.uk • davidcass.art/risinghorizon
Opposite Cat. 1 • Horizon 48% oil on sign 109.5 x 65 cm (detail)
Contents
4
Foreword • David Reay
6
Exhibition Introduction • The Scottish Gallery
10
Hubris & Nemesis • Guy Peploe
16
Recycled Plastic Paintings
26
Horizon Rising • John Englander
28
Recycled Metal Paintings
96
Ten Points • John Englander Selected Painted Sets
102 Slides 112 Stacks 120 Tins 134 Trays 142
Starting Points • David Cass
148
Career Highlights
Prof. David Reay
University of Edinburgh
Our planet’s systems are being pushed beyond
now fall to zero by the middle of this century.
their limits: the health of its water, air and
In the Paris Climate Agreement the nations
soils under siege. From deforestation and soil
of the world have plotted a route map to get
erosion, to pollution of rivers, oceans and the
there. Travelling that road will be the greatest
air we breathe, our planetary health is waning
undertaking in human history.
badly. Climate change is the biggest threatmultiplier of them all.
At the core of planetary health is sustainability. Sustainable use of Earth’s resources,
On land, vast swathes of natural forest have
knowledge of and respect for its boundaries.
been felled and their soils ploughed up. The
David’s work embodies all of this.
carbon released has joined that from fossil fuel burning in a smothering heat blanket encircling
The rising horizon is a very real threat to
the globe. This hotter atmosphere super-
millions of people, yet in his beautiful and
charges the water cycle, bringing devastating
inspired repurposing and reuse of materials
flash floods in one area just as it saps away
David illuminates an alternative future. A future
moisture and bakes earth into dust in another.
where the products we consume have lives beyond landfill sites. A future where resources
Across the oceans, sea levels are rising.
are part of a circular economy, one that
Expansion of the warming waters combines
recognises their value and the true cost of their
with ever more ice melt from land to endanger
waste.
millions around the world. Each notch higher on the global thermometer means a step closer to
The horizon is rising. Just how far is now down
the irreversible loss of ice sheets.
to us.
Climate change threatens the health of all planetary systems, its plants, its animals,
Opposite Cat. 2 • Horizon 42% oil on copper boiler 79 x 70 x 30 cm
and us too. Global carbon emissions must 4
The Scottish Gallery
Since first exhibiting with us in 2011, David Cass
Rising Horizon compounds and intensifies
has successfully linked each solo exhibition
aspects of his various working processes: it is
together so that each takes the baton from
both summary and progression, using the motif
its predecessor and a clear line of connection
of sea painted on alternative surfaces to convey
exists.
an environmental message. The result is both homage (to the sea) and awareness-raising.
Rising Horizon follows Pełàda 2017: an exhibition which focused on the plight of Venice and the Venetians, a rapidly shrinking population struggling to cope with rising tourist numbers and a lagoon whose body threatens to include the city’s ground floors. Pełàda described the topic of sea rise from close-up: using the image of crumbling brick and plaster façades as a yard stick to evidence change. Rising Horizon zooms out: no longer is Cass focussing on a specific location, rather, he is presenting broader commentary on the global topic of sea rise. Visually, this series references Cass’s early shows – Unearthed 2011 and Years of Dust and
Dry 2013 – pursuing an exploration of the found object within the realm of painting. In this new series however, Cass has moved away from working upon wooden substrates and instead
Opposite Cat. 3 • Euripus oil on printmakers’ galley tray 34 x 23 cm
has chosen more surprising materials. 6
8
Gathering • Cass sources surfaces at flea-markets, antique fairs and salvage depots, always documenting the process through analogue 35 mm photography.
Guy Peploe
Hubris & Nemesis
The Scottish Gallery
The ocean is our most vital life support, the
given its number: the percentage of the overall
lung of the Earth. Its recycling and purification
picture occupied by water, so the horizon rises
qualities are the miracles which sustain life.
by progression in a series. In the ‘final’ work
The pollution of the ocean is a tragic paradigm
– a square of wild, open ocean – there is no
for our careless attitude to resources, while the
horizon, only water. The flood is upon us and
pollution of the atmosphere will lead to global
the artist has chosen the rich vehicle of oil
warming, loss of land ice and the drastic rise of
paint worked with fingers and spatula, smeared
sea levels. It is hard not to see how our abuse of
and splattered to describe the tempest. So, the
the ocean will rebound in our inundation. Hubris
rising is not an arid, scientific process: each
and nemesis.
work is complete and replete within its own terms, and beautiful, the paint often a response
Cass has been in thrall to the wonder and
also to the supporting material on which it
beauty of the sea for as long as he can
has been painted or the scale which the artist
remember and since he has looked with an
has chosen to use. There is no uniformity –
artist’s eye – to enhance, edit and interpret –
anathema to nature observed – instead each
he has been struck by the conundrum of the
work is unique, true to the moment of its
horizon. The horizon of the sea provides proof
conception. The recording of the level of the
of the curvature of the Earth, it is the visible
horizon is, as John Englander observes, ‘an ice
beginning of sky, the locus for the appearance
pick to the brain, a reminder’ and the totality
and disappearance of the Sun in our turning
of the exhibition, which is also an ephemeral
world. So where to place it? The instinct of
event, a ‘progression, a yardstick measuring
the painter is to seek out a meaningful ratio:
environmental change’, as Cass himself
perhaps the Golden Section, the levels around
comments.
which many of Cass’s horizon-lines rest. Yet, with no loss of respect for the natural phenomena he observes, Cass seeks some
Opposite Cat. 4 • Horizon ~30% oil on sign 30 x 60 cm (detail)
codification, and in this series each depiction is 10
12
As in his previous exhibitions Cass is not
Cass considers every aspect in the production
constrained to use only conventional materials.
of an exhibition (presentation, catalogue,
In the past he has painted upon table-tops,
signage, installation) making each show
doors, printmaking trays, drawer bases (as
an artwork in its own right, a conceptual
opposite), canvas signage (as overleaf) and
whole allying him closely to the continuing,
enjoyed the history of material, adapted or
contemporary zeitgeist. In this he sees no
‘rescued’ and recycled to become the base for a
conflict, comfortable considering himself as
new work of art, a powerful trope of modernism
a painter, continuing to embrace a traditional
from Dada to Pop. In Rising Horizon, Cass has
medium as servant to contemporary ideas.
used metal surfaces: steel signage, galley
The complementarity of the concept and his
trays and even a copper boiler. In preparing
love of oil and watercolour paint chimes with
to paint he has had to conduct research
the marriage of opposites within his subject:
into his new materials (although copper is a
natural and man-made, sea rise and drought,
well-established painters’ choice from the
metal and wood, rise and fall.
early Renaissance) to make sure his paint will adhere, and the support will not corrode further. Elsewhere he has commissioned his own recycled boards: made from thousands of items of waste packaging (often with metal-foil lids incorporated, providing flecks of darker tone and texture). The lattice of wave motion which Cass has made his leitmotif is applied then scoured and wiped, so the marks seem to emerge to the surface rather than sit upon it.
Opposite Cat. 5 • Venice Lagoon oil on wooden drawer base 30.5 x 34.5 cm
Cat. 6 • Overpainting oil on found photograph 27 x 44 cm
From an ongoing series of overworked photographs, initiated at the time of Cass’ Florence in flood project, Perimetri Perduti. These images are exaggerations – envisaging inundation in the extreme – but at their core lies the truth that if average global temperature rise is not kept below 1.5ºC (above pre-industrial levels) we will witness permanent inundation in locations around the world.
Opposite Archive • Distance 2013 gouache on pasted canvas coach signage 88 x 60 x 10 cm
14
Recycled Plastic Paintings
16
Cat. 7 • Horizon 49% oil on re-formed waste plastics: food containers 112.5 x 104.5 cm (detail)
Cat. 7 • Horizon 49%
oil on re-formed waste plastics: food containers
While Cass’s substrates may vary, they’re united in not being new. Sourced from a variety of locations – from flea-markets to recycling depots – each is unconventional and has lived a life already. The choice of materials used often suggest how sea came to be rising. A painted copper water boiler hints at thermal expansion of sea-water. Painted steel motorway signs and advertisements for fuel and engine oil point to fossil fuel consumption. And, as opposite, painted panels made from plastic waste reference sea and land-based plastic pollution as well as excessive production of petroleum products.
20
112.5 x 104.5 cm
Cat. 8 • Horizon 70%
oil on re-formed waste plastics: bottles & bags
22
112 x 108 cm
Cat. 9 • Horizon 80% oil on re-formed waste plastics: bottles & bags (as opposite) 112 x 101.5 cm (detail)
John Englander Oceanographer
Horizon We look to the horizon to gain perspective: to see what might be coming towards us and to gauge changing weather conditions. The straight line of the horizon is our most basic point of reference, giving us our bearings and supporting our sense of balance. Our perspective changes as our gaze shifts. Above is the sky, the atmosphere and the universe beyond. In the case of this exhibition, below lies only sea. Over the horizon is the world of things out of sight, both tempting and treacherous. Faraway places and cultures capable of broadening an inner horizon, or a tsunami, a mighty wave that barely shows in open ocean.
26
Rising The notion of a rising horizon is both evocative
kind of miniature ice-pick to the brain – raising
and timely. Sea levels are rising. This new global
awareness – whilst in their more extreme form
phenomenon needs our attention. While the
cast judgement on how this came to be.
height of the ocean has an ambiguous visual impact on the horizon, it has a dramatic effect
For the last half-century we have all been
on the coastline. Rising seas will submerge
privileged to see the Earth from the viewpoint
land – our most defining physical asset. This
of satellites. Such remarkable imagery has
will alter nearly all beaches but will have even
transformed our perception of this ocean
greater impact as it expands marshlands and
planet. In the coming decades there will be
alters the contours of waterways and rivers
noticeable changes to many areas as rising
that connect to seas. It will take decades for the
seas permanently alter coastal boundaries.
effect to be noticeable on most maps, though
Though far from a straight line, the shoreline
certainly it will.
may be the most important line in the world.
Ever worsening events of flooding are being
We are in an unprecedented new era and need
witnessed worldwide. While many may think of
to see the reality that comes from looking at
the Maldives or Miami in terms of vulnerability,
science without prejudice or preconception. Art
flooding will also eat away at Scotland’s
is a vital tool to disseminate this message and
coastline. The stunning reality is that all coastal
to provoke thought and action about the real
communities are vulnerable, both large cities
world in which we live.
and rural areas – some ten thousand or more. Cass’s paintings creatively pose a rising horizon from dozens of diverse perspectives, upon a variety of supports: they are bold paintings, often deliberately exaggerated. Despite appearing to be playful in form, many act as a
Recycled Metal Paintings
28
Cat. 10 • Horizon ~39%
oil on J. Rabut curved advertisement
Where horizon levels are unclear or surfaces uneven, titles are approximately (~) expressed.
30
58.5 x 39 cm
Cat. 11 • Horizon ~52%
oil on pill box
32
4 x 3 cm
Cat. 12 • Horizon 47%
oil on shop sign
34
123 x 88 cm
Cat. 13 • Horizon ~43%
oil on euphagin tablets tin
36
3.5 x 8 cm
Cat. 14 • Horizon 19%
oil on Accu Slem motor oil advertisement
38
45 x 38 cm
Cat. 15 • Horizon ~87%
oil on miscellaneous tin base
40
7.5 x 5.5 cm
Cat. 16 • Horizon 58%
oil on lenses box
42
24.5 x 17 cm
Cat. 17 • Horizon ~10%
oil on drawer base
44
24.5 x 23.5 cm
Cat. 18 • Horizon ~37%
oil on artist’s box
One of three works created upon the metal panels of a deconstructed antique artist’s box: painted using the hundred-year-old paints it had contained. These tubes of oil last saw daylight in the early 1900s.
46
25 x 12 cm
Cat. 19 • Horizon ~44%
oil on artist’s box
One of three works created upon the metal panels of a deconstructed antique artist’s box. The paints within are known to have been produced in Paris and sold by Lechertier Barbe & Co. (London) between 1883 & 1900. This brand & series were used in: Sir Henry Thompson’s Carlo Pellegrini, 1874 · George Munn’s Cornish Trawlers at Rest, 1879 · William Blake Richmond’s William Morris, 1880 · E.J. Turner’s Sir Patrick Grant, 1883 · Thomas Sidney Cooper’s Four Sheep in a Landscape, 1879 · George Jacomb-Hood’s My Sister, 1886 · Heywood Hardy’s The Unwanted Chaperone, 1887 · Frederick Sandys’s Winifred, 1896 · Sir William Nicholson’s The Tuileries, 1922.
48
25.5 x 16.5 cm
Cat. 20 • Horizon 40%
oil & varnishes on Spido engine oil advertisement
50
80 x 120 cm
Cat. 21 • Horizon 38%
oil on enamelled stand
52
20 x 20 cm
Cat. 22 • Horizon 25%
oil on shop sign
54
63 x 96 cm
Cat. 23 • Horizon 59%
oil on miscellaneous box base
56
40.5 x 30 x 8 cm
Cat. 24 • Horizon ~33%
oil on S. Pellegrino hydrating magnesium tin
58
6 x 4 cm
Cat. 25 • Horizon 55%
oil on hook-on race-car number
60
28 x 30 cm
Cat. 26 • Horizon 20%
oil on railway station sign
62
31.5 x 79 cm
Cat. 27 • Horizon 35%
oil on road sign
64
96 x 25 cm
Cat. 28 • Horizon 22%
oil on Zandu Drakshasava health tonic advertisement
66
26 x 36 cm
Cat. 29 • Horizon ~89%
oil on pastilles tin
68
5 x 6 cm
Cat. 30 • Horizon 54%
oil on café sign
70
33 x 55 x 5.5 cm
Cat. 31 • Horizon 31%
oil on fire extinguisher plate
72
27 x 16 cm
Cat. 4 • Horizon ~30%
oil on post office sign
74
60 x 30 cm
Cat. 32 • Horizon ~46%
oil on miscellaneous tin
76
24 x 13 cm
Cat. 33 • Horizon ~53%
oil on street sign
78
40 x 25 cm
Cat. 34 • Horizon ~41%
oil on street sign
80
30 x 60 cm
Cat. 35 • Horizon ~60%
oil on pastilles tin
82
10 x 6 cm
Cat. 36 • Horizon 36%
oil on road sign
84
146 x 45 cm
Cat. 37 • Horizon 29%
oil on danger sign
86
40 x 90 cm
Cat. 38 • Horizon 18%
oil on fire station sign
88
50 x 65 cm
Cat. 39 • Horizon 57%
oil on Primagaz advertisement
90
38 x 97 cm
Cat. 40 • Horizon ~23%
oil on hazard zone sign
92
28 x 20 cm
Cat. 41 • Horizon 45%
oil on galley tray base
94
25 x 18 cm
96
John Englander
Ten Points
Today, there is increased awareness and concern about sea rise. There is also considerable myth and misinformation. A few points and perspectives are useful as an accompaniment to this catalogue. A reading list can be found at davidcass.art/risinghorizon.
Contrary to popular belief, melting icebergs and sea ice have no effect on sea levels. Like floating ice in a glass, they are approximately 10% above the surface, due to the peculiar fact that ice has lower density than water.
The primary cause of change in global sea levels relates to the amount of ice on land: principally our vast ice sheets and glaciers, 98% of which are on Antarctica and Greenland. These huge ice sheets are several miles high and would raise global sea levels some 65 m if they were all to melt. Fortunately, this would take many centuries.
Over the last century, global sea levels have increased by approximately 20 cm. In recent years, the rate of rise has rapidly increased. Most scientists believe that acceleration in the rate will increase in a non-linear manner: this relates to the way ice sheets and glaciers go through phases of collapse which cannot be precisely predicted.
A secondary factor of global sea rise is that seawater expands as it warms. In the last century thermal expansion of seawater has contributed around 8 cm to ocean height. In addition to global sea level variations, there are local factors that influence change. One such factor is that land in different places moves either up or down: caused by tectonic shifts, the compaction of silts and organic matter, or pumping water or petroleum from the ground. Such local variations warrant evaluation both to better predict future sea levels and to design adaptations. Throughout Earth’s history sea levels have changed more than 100 m vertically as the amount of ice on land has altered. The last low water mark was approximately 22,000 years ago, when sea levels were around 120 m below present. The last high water mark was approximately 120,000 years ago, when sea levels were roughly 7 m above present. These fluctuations were part of a natural repeating process that is commonly called the ice ages, a phenomenon which has been occurring naturally approximately every 100,000 years, for almost 4 million years. 98
Cat. 42–45 • Slides (studio)
Cat. 2 • Horizon 42% (detail)
We have now broken out of the natural ice age cycles of the last few million years and are in a period of abnormal warming. This correlates almost precisely with elevated levels of atmospheric carbon dioxide, which acts like a sheet of glass in a greenhouse: transmitting radiant sunlight but blocking the escape of warm air. Today, the oceans are measured to be approximately 1°C warmer than they were a century ago. While the atmosphere is also getting warmer, more than 90% of the excess heat is stored in the oceans. Warmer oceans mean that the ice on land will melt until it reaches a new equilibrium. From geologic history it is quite clear that even 1°C of higher global temperature corresponds with metres of higher sea level. We are in the early stage of a transition that will continue throughout this century and beyond. Higher sea levels will gradually reshape coastlines all over the world. Even a few centimeters of change already influences the short-term flooding brought by storms, heavy rains, and extreme tides. Sea level is the baseline that raises all those temporary events. Recognising this new reality, we need to do two things simultaneously: pursue all means to reduce the level of greenhouse gases in the atmosphere, with carbon dioxide from the combustion of fossil fuels as the primary factor that we can control. If done sufficiently at a global level, this can eventually slow the warming. Having already passed a tipping point, we need to start adapting to a new era with rising sea levels. We have decades to adjust building codes, engineering, communities and infrastructure, but we have no time to waste.
Slides Cat. 42 Øresund • oil on slide glass • 5 x 5 cm Cat. 43 Chausey • oil on slide glass • 5 x 5 cm Cat. 44 Severn • oil on slide glass • 5 x 5 cm Cat. 45 Barra • oil on slide glass • 5 x 5 cm
102
Cat. 42 • Øresund
oil on slide glass
104
5 x 5 cm
Cat. 43 • Chausey
oil on slide glass
106
5 x 5 cm
Cat. 44 • Severn
oil on slide glass
108
5 x 5 cm
Cat. 45 • Barra
oil on slide glass
110
5 x 5 cm
Stacks Cat. 46 North Atlantic • oil on stacked objects • 21.5 x 11.5 cm Cat. 47 Antarctic • oil on stacked objects • 19 x 11 cm Cat. 48 Indian • oil on stacked objects • 16 x 13 cm Cat. 49 Pacific • oil on stacked object • 19.5 x 13 cm Cat. 50 South Atlantic • oil on stacked objects • 11 x 13 cm Cat. 51 Arctic • oil on stacked objects • 10 x 4 cm
112
Cat. 46 • North Atlantic
Cat. 47 • Antarctic
Cat. 48 • Indian
Cat. 49 • Pacific
Cat. 50 • South Atlantic
Cat. 51 • Arctic
Tins Cat. 52 Red • oil on tin • 9 x 6 cm Cat. 53 Bellingshausen • oil on tin • 7.5 x 11 cm Cat. 54 Kara • oil on tin • 3.5 x 7.5 cm Cat. 55 Tyrrhenian • oil on tin • 9 x 14 cm Cat. 56 Alboran • oil on tin • 15 x 11.5 cm Cat. 57 Timor • oil on tin • 3.5 x 5 cm Cat. 58 Caspian • oil on tin • 5.5 x 8 cm Cat. 59 Azov • oil on tin • 3.5 x 5 cm Cat. 60 Halmahera • oil on tin • 6 x 10 cm Cat. 61 Lazarev • oil on tin • 8.5 x 6 cm Cat. 62 Åland • oil on tin • 10 x 8 cm Cat. 63 Laptev • oil on tin • 3.5 x 11.5 cm
Tins for spices, pastilles, tea, mustard powder, gun powder, calcium tablets, puncture repairs, Aspro’s Wonder Medicine, magnesium sulfate, boot wax, buttons, earrings, cigarettes, drill bits, filters, keepsakes, ribbons, plasters, pipe bowl preservatives, valve caps, biscuits, spare keys, phosphate wafers, screws & nails, fountain pen nibs, fishing tackle, menthol-borate-cocaine, thimbles, razor blades, folded notes, Quinine Tablets for General Breakdown & Nervous Strain, paper clips, rusks, cloves, loose tobacco, makeup, furniture polish, anti-depressants, stock cubes, washers, matches, Vaseline, denture cleanser, clasps, boiled sweets, caviar, poison, string, figurines, fossils, watch batteries, hair bands, sharpeners & erasers, pen knives, ticket stubs, negatives, elastic bands, Blutack, rings, dyspepsia tablets, sardines, lenses, sewing needles, stamps, cotton buds, baby teeth, ink pads, morphine, passport photos, staples, seeds, loose change, sugar cubes, fuses, camp fuel, Meccano pieces, cacao, oysters, soaps, pins & tacks, nail scissors, dried herbs, stickers, badges, playing cards, ointments, pegs, peppercorns, chalk, Altoids, lighters, necklaces, snuff, cereal tokens, kirby grips, rosin, record player needles, smelling salts, toothpicks, calling cards, shoelaces, pencil stubs, postcards, gem stones, rawl plugs, shopping lists, love letters, nuts & bolts...
120
Cat. 52 • Red
Cat. 53 • Bellingshausen
Cat. 54 • Kara
Cat. 55 • Tyrrhenian
Cat. 56 • Alboran
Cat. 57 • Timor
Cat. 58 • Caspian
Cat. 59 • Azov
Cat. 60 • Halmahera
Cat. 61 • Lazarev
Cat. 62 • Åland
Cat. 63 • Laptev
Trays Cat. 64 La Pérouse • oil on printmakers’ galley tray • 34 x 23 cm Cat. 65 Mytilini • oil on printmakers’ galley tray • 34 x 23 cm Cat. 66 Dover • oil on printmakers’ galley tray • 34 x 23 cm Cat. 67 Alor • oil on printmakers’ galley tray • 34 x 23 cm Cat. 68 Otranto • oil on printmakers’ galley tray • 34 x 23 cm Cat. 69 Vitiaz • oil on printmakers’ galley tray • 34 x 23 cm
Opposite • 25 selected painted printmakers’ trays (view full set at scottish-gallery.co.uk)
134
Cat. 64 • La Pérouse
Cat. 65 • Mytilini
Cat. 66 • Dover
Cat. 67 • Alor
Cat. 68 • Otranto
Cat. 69 • Vitiaz
David Cass
Starting Points
For as long as I’ve made art, I’ve either knowingly, or accidentally made artworks that wage a battle of opposing components in both design and concept. Often, it’s a minor conflict: perhaps simply using new paint on an old substrate, combining industrial metal structures with organic imagery, or, using watercolour paints without water to describe an
Opposite Cat. 70 • Cooperation varnished oil on plaque 7.5 x 15.5 cm (front & back)
image of water. As a result of spending extended periods
Overleaf Forest Fire Aftermath Cat. 71 • Looking Out Cat. 72 • Looking In c-type prints 29 x 43.5 cm
working across mainland Europe, this study in juxtaposition has shifted to the forefront of my practice, applied now to the topic of environmental extremes. Initially from a historic standpoint, I explored the legacy of two of last century’s Great Floods: Paris in 1910 and Florence in 1966. Then, from a contemporary perspective: discussing the increasing weather extremes of wet and dry, symptomatic of our changing climate. From Venice, where inundation threatens the very fabric of the city (claiming homes and forcing residents to evacuate), to Almería, where drought is rapidly becoming desertification (which again leads to land abandonment). 142
Cat. 71
One starting point for this project was a forest
for hunting. Their roots absorb the scant
fire. The aftermath of a forest fire to be exact. It
subterranean moisture that should be going
wasn’t even a fire that I witnessed. The burned
to crops, invading terrace systems and ruining
patch of hillside had new brush and scrub poking
age-old watering channels. Though, precipitation
up between blackened rocks by the time my
here is at an all-time low and so most of these
colleague and I arrived. What drew us to this
channels no longer function.
patch of hillside was its colour: a vivid blood-red. The water and retardant poured from the air to
Almería possesses as close to a desert as
halt the blaze contained this artificial pigment.
Europe has – it’s described officially as a semidesert – and the rest of the region is becoming
Throughout the arid Almería landscape, these
increasingly susceptible to the same fate. Explore
patches of nightmarish forest are common. The
the region and you’ll pass hundreds of abandoned
region is bone-dry and pine trees abundant:
homes: from simple dwellings to farmhouses
non-indigenous and mostly planted by man
with acres of land, each now left to the elements. 144
Cat. 72
There’s nothing here to keep families on the land:
Horizon? Drought and inundation are both sides
wells and reservoirs have gone dry and episodes
of the same coin, they come hand in hand with
of drought have become ever more frequent since
climate change.
the middle of last century, rendering the land unworkable, uninhabitable, unsellable.
A warmer world means faster evaporation and irregularities in the ability of our atmosphere
We spoke to locals – elderly residents of rural
to hold and transport moisture. This means dry
villages – and were told of the wet springs of their
areas of the world become even drier, while
childhoods, of snow in winter, of vibrant (pine
wet areas get wetter. When rain does arrive it
free) hillsides. In half a century, life in this region
is increasingly likely to be torrential, in the form
has changed dramatically. Almería currently
of a storm, causing flash flooding and stripping
endures over 80% of the year without rain, or
soil and nutrients from the land. It was lightning
chance of rain (that’s in a non-drought year). But
from one such storm that set this patch of hillside
what has all this to do with the topic of Rising
alight.
Cat. 64–69 • Trays (studio)
Cat. 31 • Horizon 31% (studio)
Career Highlights
David Cass
Solo
Collaboration
Group
Rising Horizon
As Coastline is to Ocean
Tay Projects
The Scottish Gallery, Edinburgh 2019
Pełàda
The Scottish Gallery 2017
Perimetri Perduti (book launch) ii
The Fruitmarket, Edinburgh 2017
Born 1988 • Edinburgh
with Joseph Calleja & Robert Callender / Lateral Lab An Talla Solais, Ullapool 2019
Sea Fever
with The Auction Collective Hoxton Arches, London 2018
El Bosque Encarnado
The British Institute, Florence 2016
with Gonzaga Gómez-Cortázar IconoTV & ArtCop21, Paris 2015
Surface
Quest’Arno! Quest’Arno!
Perimetri Perduti i
Gayfield Creative, Edinburgh 2016
Tonight Rain, Tomorrow Mud The Scottish Gallery 2015
Years of Dust & Dry The Scottish Gallery 2013
Unearthed
The Scottish Gallery 2011
Graduation Exhibition
Edinburgh College of Art 2010
Tatha Gallery, Newport–on–Tay 2018
Airs, Reels & Ballads The Scottish Gallery 2017
Foreign Familiar
curated by David Cass The Balmoral, Edinburgh 2017
Connections Tatha Gallery 2017
with Stephen Kavanagh Studio Arts College, Florence 2015
Water Paper Paint
The Listener
Till it’s Gone
with RSA John Kinross scholars Telfer Gallery, Glasgow 2012
Right Place, Time Left
with Charlotte Nieuwenhuys VDK, Brussels 2011
Out of Site: Solar Pavilion
with Joseph Calleja & Karen Forbes Arts Festival, Edinburgh 2011
Art Toronto
with The Scottish Gallery Convention Center, Toronto 2011
Royal Watercolour Society, London 2017
Museum of Modern Art, Istanbul 2016
Rome Media Art Festival MAXXI Museum, Rome 2016
Drawing on Drawing
Edinburgh College of Art 2016
Curious Artefacts Artwall, Athens 2015
Scottish Art Today
Bohun Gallery, Henley–on–Thames 2014
Drawing from the Landscape
Royal Scottish Academy, Edinburgh 2012
Selected Awards / Other The Royal Scottish Academy’s Benno Schotz award 2018 named work by Cass as the most promising created by a practicing artist in Scotland under 35 Chosen to illustrate Mark Haddon’s upcoming novel The Porpoise (Penguin Vintage / Chatto & Windus) 2019
Additionally, Cass has participated in Royal Academy, Royal Scottish Academy & Visual Arts Scotland annual exhibitions, has been part of the Threadneedle Prize, National Open Art Competition, Sunday Times Watercolour Competition, Jolomo Awards and both the Royal Society of Marine Artists and Royal Watercolour Society programmes. His works are part of collections worldwide, including seven items in the permanent collection of the Royal Scottish Academy (in his native Edinburgh). He has also participated in a range of arts residencies and events: more can be read on the artist’s website and The Scottish Gallery profile.
Winsor & Newton awarded Cass their top prize for watercolour innovation in 2016 Selected to exhibit during ArtCop21 Paris (aligned with the Paris Climate Agreement) in 2015 Subject of a 2015 minidocumentary by ITV Received the 2012 South of Scotland Visual Artist Award First place in the Royal Watercolour Society’s 2012 competition First place in the 2011 Royal Society of Marine Artists competition for painters under 25 Awarded the 2010 Royal Scottish Academy John Kinross scholarship to Florence Awarded the 2009 Alexander Flynn bequest
Opposite Cat. 73 • Horizon 100% oil on pasted canvas coach signage + wooden supports 139 x 129 x 6 cm (detail)
Acknowledgements & Thanks Professor David Reay Chair in Carbon Management University of Edinburgh John Englander Oceanographer & Author sealevelrisenow.com Gonzaga Gómez-Cortázar Romero Collaborator: Forest Fire Aftermath David wishes to thank all at The Scottish Gallery, his family, partner, and friends who have helped with the project — your support has been invaluable
Published by The Scottish Gallery to coincide with the exhibition David Cass • Rising Horizon Exhibition can be viewed online scottish-gallery.co.uk/davidcass Design by David Cass & The Scottish Gallery • Photography by David Cass Printed by Barr Colour Printers using responsibly sourced & recycled stock (including Gmund carbon-neutral papers) 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
ISBN 978 1 910267 96 7