BRECHT’S JOURNAL
DERRICK GUILD
BRECHT’S JOURNAL DERRICK GUILD 4 – 28 OCTOBER 2017
16 Dundas Street, Edinburgh EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk www.scottish-gallery.co.uk
Cover: Clara (After Oudry), 2016-17 oil on linen, 135 x 174 cms (cat. 12) (detail) Left: Pelican (After d’Hondecoeter), 2016-17 acrylic on linen, 134 x 86 cms (cat. 8) (detail)
FOREWORD The Directors of The Scottish Gallery are delighted to present Brecht’s Journal, an exhibition of new work by Derrick Guild. Guild is a conceptual artist who chooses paint as his primary vehicle, undaunted by the mantra: painting is dead (or only allowed if done ironically), undaunted also by the weight of art history which must be supported by each mark made on canvas in his chosen medium. All art has to be made with conviction and courage but where an artist deploys a realist technique and the choice of what he paints becomes key and his triumphs hard won. Objects and photography play a key role in realising Brecht’s Journal and in the interview published on the proceeding pages the complexity of ideas behind his choices of subject is revealed. However there is no iconographical key to unlock meaning, each work has a rich, layered, visual presence which can be taken ‘at face value’; floating just beyond full comprehension.
Left: Hare with Collar, 2016 acrylic on linen, 41 x 36 cms (cat. 13) (detail)
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BRECHT’S JOURNAL Where did the idea for Brecht’s Journal come from? Around twelve years ago I had an idea to make four paintings based on Albrecht Dürer’s 1502 painting of a young hare. The paintings would depict the hare from four different angles, as if walking around Dürer’s subject. I had become fascinated by the space surrounding Dürer’s original, and really felt like seeing the other side of the animal. I like to work from a model/object so I contacted a taxidermist to pose me a hare in the same position as Dürer’s. After some weeks my taxidermist phoned to say that it was impossible to pose the animal in the same position: Dürer’s hare was anatomically incorrect. The original painting has long been held up as one of the greatest pieces of naturalistic painting, but as taxidermy did not exist in 1502 and no hare would sit still long enough for such a masterpiece to be created, Dürer must have used his prodigious powers of invention to create his work. When I asked my taxidermist what the model for the original might have been, he said a cat, a rabbit, and a hare could all be in the mix. Around fifty years after Dürer’s death a group of artists led by Hans Hoffmann made versions of Dürer’s animal works often signing them with Dürer’s monograph (legitimate at the time). These facts and fictions really sparked my imagination, and I began to develop ideas that played with the notion of Dürer’s painting being a fiction. One of the things that I am heavily influenced by is film, and I finally settled on the idea of creating a fictitious film/play that would only exist in photographic form. I developed a character called Brecht, played by Ewen Bremner, a studious and sensitive individual who has a deep connection not only with Dürer’s painting but also with the animal itself. Brecht sees in Dürer’s painting and its model the possibility of a redemptive bridge between the animal kingdom and humankind. Brecht begins collecting a journal of images, gleaning works from art history and from specimens in his collection, searching for the pictorial essence that has made particular animal works endure. His ultimate goal is to develop an opera where his animals will create a harmonious connection between the animal kingdom and humankind. The idea that paintings and objects can exist within another context (i.e. film, photography and story) is very interesting to me, creating another space for the work to inhabit which I find very exciting. To what extent is a title of an exhibition a starting point or waymark in the development of your ideas? Each exhibition title is an umbrella to the body of work at that time. I like the titles to have a life of their own. I want them to convey some key elements, but I also see them as artworks in their own right. Brecht’s Journal is ongoing, and I am thinking about developing the idea of a cast of operatic animals.
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There is a sense that your time and experience on Ascension Island continues to inform your work. Ascension was an otherworldly experience. The island was historically fascinating: Charles Darwin and Joseph Hooker inspired a Green Experiment on the island that has culminated in a self sustaining cloud forest (now a model for terra-forming Mars) where plants from every corner of the world co-exist. The island was important in the Apollo moon missions as a communications site, and was first inhabited by Royal Navy Marines, to watch for French ships heading to St Helena to free the imprisoned Napoleon Bonaparte. The island has a strange isolated and volcanic beauty, with its tropical heat and sea teaming with tuna and only 900 inhabitants. What the island left me with is the notion of far reaching complex narratives that are informed by nature, history and time. You have talked about how you inhabit the world of art history. Every artist assimilates the material they review, how does this process work for you? I don’t know if one can inhabit the world of art history, but I do spend a lot of time with books, museums and galleries that are devoted to the display of art. One particular area that fascinates me is how the natural world has been a constant subject throughout art history. I am interested in how the rendering of the natural world can be seen as a reflection of our own deeply held complex desires and wishes. For instance I find botanical painting a particularly curious and beautiful form. I often feel that they show the beauty of the form in their own rather polite and ordered way, but they do not convey the fecund unruliness that seems inherent in plants, almost as if the scientific rendering has robbed them of their spirit. Whilst I was resident on Ascension I spent many days wandering around the manmade cloud forest on Green Mountain and was captivated by the wild and complex mix of plant life. I began a series of botanical paintings of impossibly hyrbidised plants. These paintings were large and unruly, covered in stains and foxing, they were the opposite of the polite botanical paintings that I still very much enjoy, but feel leave something out. I also love the narratives that lie behind the great paintings of artists like Oudry and Dürer. Constantly looking at their works I find myself building new narratives and also finding new things out. So in a sense art history is a two-way mirror connecting me to a fascinating version of the natural world.
1 Brecht No.2, 2015 archival pigment print, 72 x 52 cms edition of 5
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The tulip seems a gift for a painter interested in ideas, which are at once beautiful and laden with historical significance. Can you discuss the Follower series and the significance of flowers in your work?
something that I have always been interested in. I particularly enjoy when someone asks if a wall mounted sculpture of a fruit or vegetable will fall off when it rots. This means the illusion has worked!
The Tulipmania of 1630s Netherlands is an intriguing phenomenon that allegedly caused the first financial bubble. How such a chromatic and ascetic society became so enthralled by the red and white flame markings of the Semper Augustus tulip is fascinating. No more than a handful of the tulips actually flowered, and yet there were hundreds of Semper Augustus tulips painted. Whilst looking at as many paintings as I could find from the period that showed the Semper Augustus tulip, I became aware that the same tulips were cropping up time and time again. A number of the paintings I was looking at were attributed to followers of the more important artists of the day. I decided to make a piece of work that would play with the idea of the futility and timeless desire for a perceived version of beauty, a visual poem, where I too would become a follower. I made a series of paintings, which quoted directly from paintings of the period (cat. 26 – cat. 32). I framed these under oval mounts in reference to the financial bubble. These paintings then formed the reference point for a performance piece, where I painted the Semper Augustus flames onto real tulips. The performance took place at the Royal Scottish Academy over the period of a month; the tulips that I painted on were left on show in various states of decay. A short film, paintings and a series of photographs are the sum of this work.
In working with Ewen Bremner were you looking for a collaborator or a model?
Intellect and history are always present but the human form is absent in your paintings, is this deliberate? I’m not conscious of making any deliberate choice about that and I am interested in the human form. For this show the human image is part of the photographic element. The paintings bear witness to human contact in their illusionistic folds, creases, tears and stains. I have tried to impart the feeling that these images have been looked at and cherished over many years. In a sense I feel the actions of human touch and seeing are very apparent in these works. I have painted portraits in the past, mostly private commissions, and I regularly quote Velázquez in my label paintings. You have always worked on three dimensional as well as painting and drawing, is the latter not sufficient? Sometimes an idea needs to be more direct, for instance the large orange that is part of the work Carrier (cat. 21) is actually the cast of a pomelo painted orange. The genetic source of the orange is pomelo and tangerine. The orange is such a quotidian object, in this instance I felt the object would work better than a painting of a large orange; I feel the object encompasses more of the essence of the subject. I often use found objects alongside things that I have made or have had fabricated. These found objects can enrich, solidify and sometimes deliberately confuse a narrative. Trompe-l’oeil is
Knowing Ewen was instrumental in developing the character of Brecht. A few years ago I made a dual portrait of Ewen consisting of a static head and shoulders film, and a painted portrait from the film. I spent a long time looking at Ewen in this film and became quite entranced by the sensitivity of his face. Although this was a static film, Ewen imparted a feeling of pathos. At the same time I was working through ideas around Dürer’s hare and I began to link the sensitivity of the filmed portrait with my Dürer project. The character of Brecht was conceived at that point. The idea of a fictitious film or play is a much more convincing prospect when you have an actor of Ewen’s calibre involved. Ewen liked the idea and for the short period of the photo shoot he brought Brecht to life. Ewen was inspiration, model and collaborator. Has the addition of photography and film opened up a new means of expression for you? The idea that artworks can have multiple contexts and meanings is something I am very interested in. For instance, the way that a painting or object can be both an influence and a physical element within a photograph, film or performance is something that I get a real kick from. Working with photographers Phoebe Grigor and Jed Gordon allowed me the role of director and also left me free to appear in the pre-composed setups. The possibilities of post-production are particularly interesting as I can then approach a photograph in the same way that I would a painting, making radical changes. The perfect surface of the photographic image allows for an uninterrupted access to quite complicated visual information. It allows human interaction with the artworks in a way that suggests many new possibilities. Brecht’s Journal has been made entirely in your studio where you are surrounded by nature and family, has this been an influence on what you have created? Yes, my surroundings and loved ones are all in some way present in the work. The photograph Followers (cat. 15) shows a scene from an imagined play, where my studio becomes the set and my daughters play a central role. I have become much more aware of the possibilities of using what is immediately around me to build new narratives. I live amongst a farming community and that is fascinating. The flowers from my garden are always a fleeting source, as is the colour of the surrounding farm walls. My wife is a constant and very patient sounding board whose support is key.
Left: After A.D, 2017, acrylic on linen, 62 x 51 cms (cat. 5) (detail)
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2 Cast, 2016-17 acrylic on linen, 142 x 112 cms
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3 Penguin, Bell and Ribbon, 2017 acrylic on linen, 26 x 21 cms
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4 Penguin (Brecht’s Journal), 2016 acrylic on linen, 81 x 66 cms
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5 After A.D, 2017 acrylic on linen, 62 x 51 cms
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6 Brecht No.1, 2015 archival pigment print, 72 x 101 cms edition of 5
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7 Brecht No.3, 2015 archival pigment print, 53 x 72 cms edition of 5
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8 Pelican (After d’Hondecoeter), 2016-17 acrylic on linen, 134 x 86 cms
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9 Piglet with Earring (After Hoffmann), 2016 acrylic on linen, 26 x 31 cms
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10 Goldfinch, 2017 acrylic on linen, 26 x 21 cms
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11 Polar Bear and Goldfinch, 2017 acrylic on linen, 41 x 36 cms
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12 Clara (After Oudry), 2016-17 oil on linen, 135 x 174 cms
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13 Hare with Collar, 2016 acrylic on linen, 41 x 36 cms
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14 Mouse, 2017 acrylic on linen, 21 x 21 cms
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15 Followers, 2016 archival pigment print, 76 x 110 cms edition of 5
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16 Clara, Bubbles, 2016 acrylic on linen, 35 x 46 cms
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17 Clara, Wine and Bread, 2017 acrylic on linen, 35 x 46 cms
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18 Burnt Rhino No.2, 2016 acrylic on linen, 35 x 46 cms
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19 Clara, Smoke, 2016 acrylic on linen, 35 x 46 cms
20 Burnt Cassowary Study No.2, 2017 mixed media on paper, 38 x 28 cms
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21 Carrier, 2017 oil on cast resin and found object in artist designed mirrored case, 132 x 79 x 48 cms
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22 After A.D, 2006 taxidermy hare in artist designed mirrored case, 132 x 79 x 48 cms
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23 Paradise Depicta, 2011-2015 oil on linen, 157.5 x 122 cms
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24 After Eden No.4, 2016-17 oil on linen, 61 x 42 cms
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25 Fever Bulb, 2016 acrylic on linen, 47 x 36 cms
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26 Follower No.8, 2015-16 oil on canvas, 29 x 23.5 cms
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27 Follower No.1, 2015-16 oil on canvas, 29 x 23.5 cms
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28 Follower No.3, 2015-16 oil on canvas, 29 x 23.5 cms
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29 Follower No.10, 2015-16 oil on canvas, 29 x 23.5 cms
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30 Follower No.7, 2015-16 oil on canvas, 29 x 23.5 cms
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31 Follower No.6, 2015-16 oil on canvas, 29 x 23.5 cms
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32 Follower No.5, 2015-16 oil on canvas, 29 x 23.5 cms
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DERRICK GUILD RSA 1963
Born in Perth, Scotland
EDUCATION
1982-86 First Class BA Honours in Fine Art, Duncan of Jordanstone College of Art and Design, Dundee 1987 Postgraduate Diploma, Highly Commended, Duncan of Jordanstone College of Art and Design, Dundee
SOLO EXHIBITIONS
2012
2017 2015 2013
2012 2010 2009 2007 2000 1997 1996 1994
‘Brecht’s Journal’, The Scottish Gallery, Edinburgh ‘After A.D’, Summerhall, Edinburgh ‘Mother Figures’, The Scottish Gallery, Edinburgh ‘After A.D.’ Long and Ryle Contemporary Art, London ‘Object Painting Objects’, The Scottish Gallery, Edinburgh ‘After Eden’, Allan Stone Gallery, New York, USA ‘Paradise Paradise’, The Scottish Gallery, Edinburgh ‘Derrick Guild’, Lux Art Institute, Encinitas, CA, USA ‘Pre-Ascension’, Allan Stone Gallery, New York, USA ‘Picnic Hamper for Heaven’, Perth Museum and Art Gallery, Perth ‘Bread Paintings’, Allan Stone Gallery, New York, USA ‘Choice Bread’, Paton Gallery, London ‘Sense is Hard’, Pier Art Centre, Stromness, Orkney Allan Stone Gallery, New York, USA Paton Gallery, London
GROUP EXHIBITIONS 2017 2016 2015 2014
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‘Archipelago: David Blyth, Alan Grieve and Derrick Guild’, Summerhall, Edinburgh ‘Farm To Table’, Epicurean works from the Allan Stone Collection, Allan Stone Projects, New York, USA ‘Feast For The Eyes’, Nassau County Museum Of Art, NY, USA ‘Flora Depicta’, The Scottish Gallery, Edinburgh ‘Dancing With Dystopia’, Allan Stone Projects , New York, USA ‘Scottish Drawings’, Royal Scottish Academy, Edinburgh ‘Confections’, Allan Stone Projects, New York, USA
2013
2011 2008
2006 2005 2004 2003 2002 2000 1999 1998 1997 1995
‘Wunderkammer’, Allan Stone Projects at the Metro Show, New York, USA ‘Dis-functional’, Allan Stone Projects, New York, USA Royal Scottish Academy Annual Exhibition, Edinburgh The Miami Project 2013 with the Claudia Stone Gallery, New York, USA Royal Scottish Academy Annual Exhibition, Edinburgh Royal Scottish Academy Annual Exhibition, Edinburgh ‘The Artists Studio’, The Royal Scottish Academy, Edinburgh ‘Min Max’, The Allan Stone Gallery, New York, USA ‘Vegetable Loves’, Polarcap Projects, Dunbar ‘The Fire Part Of Fire’, The Outbye Gallery, Pitenweem ‘Gallery Group 2008’, Allan Stone Gallery, New York, USA ‘The Scottish Show’, Donna Beam Fine Art Gallery and Marjorie Barrick Museum, University of Nevada, Las Vegas, USA; travelled to: Hite Art Institute, University of Louisville, USA; The Art Gallery, University of Maryland, College Park, USA The Royal Scottish Academy Annual Exhibition, Edinburgh ‘Doctor Skin’, Perth Museum and Art Gallery, Perth ‘Guilding the Summer Town’, The Royal Scottish Academy, Edinburgh ‘Blind Sight’, The Royal Scottish Academy, Edinburgh ‘Animals’, Allan Stone Gallery, New York, USA ‘Talent 2003’, Allan Stone Gallery, New York, USA ‘Albatross’, Gallery Stzuki, Wosnia, Poland ‘Blind Sight’, Visual Research Centre, Dundee Contemporary Arts, Dundee Art Space Titanik, Turku, Finland ‘Group Show’, Allan Stone Gallery, New York, USA ‘Fortieth Anniversary Exhibition’, Allan Stone Gallery, New York, USA ‘Fruits and Flowers, Skies and Pies’, Allan Stone Gallery, New York, USA ‘Food for Thought’, New Jersey Centre for the Visual Arts, Summit, NJ, USA Allan Stone Gallery, New York, USA ‘Food for Thought’, DC Moore Gallery, New York, USA Tribes Gallery, New York, USA Paton Gallery, London Allan Stone Gallery, New York, USA
1994 1993 1992 1991 1990 1988 1987 1986 1985 1984
Paton Gallery at the Economist, London ‘Stimulants’, Frances Cooper Gallery, Duncan of Jordanstone College of Art and Design, Dundee ‘Bringing in the New’, McManus Galleries, Dundee ‘A Feast for the Eyes’, Long and Ryle Contemporary Art, London ‘Inaugural Exhibition’, Paton Gallery at London Fields, London ‘Scottish Figurative Painting’, Long and Ryle Contemporary Art, London ‘Northlands’, St. Fergus Gallery, Wick; travelled to Swanson Gallery, Thurso and the Iona Gallery, Kingussie ‘The Return of the Cadavre Exquis’, The Drawing Centre, New York, USA ‘The New Decade II’, Paton Gallery, London Long and Ryle Contemporary Art, London Paton Gallery, London ‘The Decade’, Duncan of Jordanstone College of Art and Design, Dundee and Barrack Street Museum, Dundee ‘New Art from Scotland’, Kings Manor Gallery, The University of York, York Paton Gallery (two-person show with Stuart MacKenzie), London ‘A View of the New’, the Royal Overseas League, London ‘The New Decade I’, Paton Gallery, London ‘Four Scottish Painters’, Barbizon Gallery, Glasgow Warwick Arts Centre, The University of Warwick, Coventry ‘New Faces 3’, Paton Gallery, London ‘Two Scottish Artists’, The Barbizon Gallery, Glasgow Paton Gallery, London ‘Contemporary Scottish Art’, Emanuel College, University of Cambridge, Cambridge ‘Contemporary Maritime Painting’, The Frigate Unicorn, Dundee ‘Contemporary Scottish Art’, Emanuel College, University of Cambridge, Cambridge ‘The New Generation’, Compass Gallery, Glasgow Mercury Gallery, Edinburgh ‘Rank Xerox Travelling Exhibition’, London ‘The New Generation’, Compass Gallery, Glasgow ‘Sexuality in the Media’, Art Institute of Chicago, Chicago, Illinois, USA Diadem Architects Centenary Exhibition, Perth
AWARDS 2012 2010 2009 2006 2005 2004 1999 1994 1987 1986 1985 1984 1983
Highland Artist Award, Royal Scottish Academy, Edinburgh Elected Member of the Royal Scottish Academy Lux Art Institute, Encinitas, CA, USA, Artist-inResidence Royal Scottish Academy Maud Gemmell Hutchison Bequest Carnegie Trust Award for the Universities of Scotland Royal Scottish Academy Sir William Gillies Bequest Award Hope Scott Trust Award, Edinburgh Hope Scott Trust Award, Edinburgh The Villiers David Award Royal Scottish Academy Sir William Gillies Bequest Award Royal Scottish Academy Stuart Prize Elizabeth Greenshields Foundation Award Farquhar-Reid Travelling Scholarship John Duncan of Drumfork Award Hospitalfield House Summer Scholarship Diadem Architects Centenary Award Ian Eadie Award, Duncan of Jordanstone College of Art and Design, Dundee SED Minor Travelling Scholarship Matthew Prize for Painting, Duncan of Jordanstone College of Art and Design, Dundee
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33 Brecht No.4, 2015 archival pigment print, 53 x 72 cms edition of 5 Derrick Guild (left) directing Ewen Bremner, 2015
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SELECTED PUBLIC COLLECTIONS Aberdeen Asset Management, London Alan Stone Collection, New York, USA Dundee Museums and Art Galleries, Dundee Dundee University, Dundee Perth Museum and Art Gallery, Perth School of the Art Institute of Chicago, Chicago, IL, USA The Fleming-Wyfold Collection, London The Scottish Arts Council, Edinburgh TEACHING EXPERIENCE 2014
Visiting Lecturer, Edinburgh College of Art, Edinburgh 2014-15 Visiting Lecturer, Duncan of Jordanstone College of Art and Design, Dundee 1992-2011 Part-time lecturer in Fine Art, Duncan of Jordanstone College of Art and Design, Dundee SELECTED BIBLIOGRAPHY Turps Banana, issue 18, 2017 The Student Newspaper, “Archipelago” David Blyth, Alan Grieve and Derrick Guild, 15 February 2017 Macmillan, Duncan, “Archipelago”, The Scotsman, 10 February 2017 “Allegories and Existence at Summerhall”, The List, 12 August 2015 “The Heart of Drawing – Scottish Drawing at the Royal Scottish Academy”, arts-press.co.uk, 2015 Rae, Haniya. “Three Artists Serve Up Donuts, Pie, and Other Confections in Richly Colored Paintings”, Artsy Editorial, 19 December, 2014 Patience, Jan. “Review: 188th Royal Scottish Academy Annual Exhibition Royal Scottish Academy Building, Edinburgh”, The Scotsman, 4 April, 2014 “Minimal, Geometric and Reductive Works from the Allan Stone Collection opens in New York”, artdaily.org, September, 2012 “Visual Art Review: Royal Scottish Academy Annual Exhibition”, The Scotsman Newspaper, 2 May, 2011 McCormack, Ed. “Derrick Guild’s Visual ‘Fictions’ Trump Tromp L’oeil”, Gallery and Studio Magazine, NovemberDecember, 2010 Kreimer, Julian. “Derrick Guild, New York, at Allan Stone”: Art in America, 1 December, 2010 Kuspit, Donald. “The New Naturalism”: Artnet Magazine, 22 November, 2010
Mullarkey, Maureen. “Derrick Guild: After Eden”, City Arts, 14 September, 2010 Ayres, Robert. “On the fingers of one hand, the best of this week’s New York gallery shows”: A sky filled with Shooting Stars, 8 September, 2010 Ollman, Leah. “Playful Hybrids of Nature”, Los Angeles Times, 14 June, 2009 Pincus, Robert. “Making Past Present.” San Diego Union Tribune, 2 Jul, 2009 Blackwood, John. “Derrick Guild Pre-Ascension”, Exhibition Catalogue, Allan Stone Gallery, New York, 2007 Mullarkey, Maureen. “A Taste for Nonconformity”, The New York Sun, 5 April, 2007 “Derrick Guild”, American Arts Quarterly, Summer 2007, p. 61, 62 “Scottish artist looks for work to ascend with island move”, The Scotsman, 5 March, 2007 Windle, Mike and Todd, Graeme. “Guilding the Summer Town”, Exhibition Catalogue, Royal Scottish Academy, 2006 Skipwith, Selina and Smith, Bill. “A History of Scottish Art. The Fleming Collection”, Merrel , 23 May, 2003 McCormack, Ed. “Derrick Guild Bread Paintings”, Exhibition Catalogue, Allan Stone Gallery, New York, 2000 New York Magazine, Galleries: Solos. 29 March and 10 April, 2000 Johnson, Ken. The New York Times, Galleries: Uptown. 31 March and 17 April, 2000 “Loaf and behold”, Time Out New York, issue 234. 16-23 March, 2000 Bischoff, Dan. “A matter of taste”, The Sunday Star-Ledger. 4 April, 1999 Filler, Marion. “Food is art in new exhibit”, Daily Record Morris County, NJ. 23 April, 1999 “Food for Thought”, Exhibition Catalogue, DC Moore Gallery, New York and New Jersey Centre for Visual Arts, 1998 Zimmer, William. “A Feast Where Not Everything Looks Good Enough to Eat”, The New York Times. 18 April, 1999 Henderson, Kevin. “Sense is Hard”, Exhibition Catalogue, Pier Arts Centre, Orkney, 1997 Art Review, June 1996, p. 31 McCormack, Ed. “Gaudi and Busquets share the bill with Derrick Guild at Allan Stone Gallery”, Gallery and Studio. Autumn, 1996 The New Yorker, Galleries – Uptown. November 18, 1996 Gavin, Dawn. “Derrick Guild Paintings 1994”, Paton Gallery, London, 1994
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Published by The Scottish Gallery to coincide with the exhibition DERRICK GUILD BRECHT’S JOURNAL 4-28 October 2017 Exhibition can be viewed online at www.scottish-gallery.co.uk/derrickguild ISBN: 978-1-910267-67-7 Design www.kennethgray.co.uk Photographed by Jed Gordon Printed by Barr Colour Printers 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.
16 Dundas Street, Edinburgh EH3 6HZ +44 (0) 131 558 1200 mail@scottish-gallery.co.uk www.scottish-gallery.co.uk
Right: After Eden No.4, 2016-17 oil on linen, 61 x 42 cms (cat. 24) (detail)
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