Inverness Museum & Art Gallery, until 25 August 2007

Sarah Keay (textile).

AN EXHIBITION of thirty Scottish artists and makers, The Cutting Edge contains superb examples of design, craftsmanship and conceptual art which are both exceptionally beautiful and thought provoking. Spending time in this exhibition is an absolute pleasure and the contents highlight the strength of Scotland as a leader in contemporary Craft practice.

There were many highlights in this show and I especially enjoyed the video and audio presentations of different artists speaking about their work and creative process. Michael Lloyd’s “Strong Men Don’t Send Flowers” (a copper vase with 24ct gold inlay) raises the question in the bomb-shaped form of the kind of environments we chose to create as human beings and the affect on our psyche.

“Strong Men Don’t Send Flowers” is both a beautiful and exquisitely crafted object and an exploration of a post 9/11 culture of aggression. For me it reflects beautifully a central concern, that of the ethics of art and design.

Gillian Cooper’s two works “Vigilance V” and “Vigilance VI” both using computerised machine knit, digital imagery, wool, cotton, acrylic and lurex fibres examines our culture of surveillance and protection and like Michael Lloyd’s work is an interesting comment on the fabric of a society we have chosen to create.

Described as “sinister comfort blankets” these two pieces raise an important question: “We are constantly filmed on CCTV in our cities, but does it only record or actually prevent dreadful happenings?” The audience is left with the unease of passive observation here, not knowing if the child being held has been abducted or whether he sits in the protective arms of a parent.

A fusion of textile, jewellery and sculpture practices, Sarah Keay’s work draws on botanical inspiration to create neck pieces in monofilament, enamel paint, semi- precious stones and crystals. The results are naturally elegant with delicate finely woven details suggestive of organic structures.

Observation of nature, namely the effect of the sea, is a strong influence in the work of Grant McCaig who has contributed two raised vessels and a series of square edged spoons to the exhibition. The contrast between the distressed handles and expertly forged metal is exquisite heightening the qualities and colours of found materials in contrast with silver.

Another artist to utilise found objects is Jack Cunningham, who explores narrative in his brooches of assembled objects, crafted stones and metals. Colour plays a significant role in the relationship between these elements and each piece is beautifully balanced in terms of form.

By focusing on the narrative in his chosen field of jewellery the artist also makes the viewer aware of their part in another form of narrative, that between the maker, the wearer and the observer. Here a brooch as accessory is not necessarily about status or fashion.

Dorothy Hogg’s “Artery Series” with a series of openings and design segments based on internal body structure are fascinating inner designs for outer adornment. Working in silver, gold, felt and other mixed materials and with sparing accents of colour the structures are hollow and light.

There is a sense of macro and micro in these pieces which is lead by a sculptural quality fused with the idea of personal or individual adornment we expect from a piece of jewellery and the inspiration of minute internal structures.

“Inversion I and II” in diamond polished black terracotta and diamond polished white stoneware by Sarah Jane Selwood, though conceived as wall pieces, read like the ellipse of an eye or massive sculptural land works.

Selwood’s process of cutting and rejoining utilises computer visualisation and the traditional potter’s wheel in what she describes as a kind of “origami” turning the structure “inside out”. This piece illustrates the way in which Craft and Fine Art are effectively fused in cutting edge contemporary practice.

Keiko Mukaide’s “Compass for a Couple”, “Compass for a Life Decision” and “Compass for a Family” are free standing sculptural objects in glass and metal. I especially liked “Compass for a Life Decision” in which all four arrows point one way. The practical purpose of a compass is expanded in these objects causing the viewer to consider their own “life direction and location” in the world.

In a wider sense this exhibition acknowledges Scotland as a centre of gravity through the innovative work of its artists, designers and makers. In silverwork, ceramics, jewellery, glass textiles, basketry, furniture and metalwork, The Cutting Edge presents a vibrant snap shot of Contemporary Scottish Craft.

However presented at IMAG as part of Highland 2007, this exhibition again raises the question of curation from the central belt and the lack of focus of this year “showcasing Highland culture”. Whilst this is a superb exhibition of Scottish talent and creativity, it highlights a gap in the promotion of work produced here in the Highlands and Islands and the need for that work to be seen out with the area.

A major show curated by the Highland Council exhibitions unit touring to the central belt and other UK locations might have also been appropriate in this focus year, especially in the context of the national and international focus of the first Six Cities Design Festival in June this year.

The Cutting Edge emerged from partnerships between the National Museums of Scotland, Aberdeen City Council, East Ayrshire Council, Glasgow City Council with financial assistance from the Scottish Arts Council, Highland 2007 and the Highland Council.

Like the opening Highland 2007 exhibition, Fonn’s Duthchas – Land and Legacy, which satisfied a political brief of greater cooperation between national collections and other agencies, this exhibition in its association with Highland 2007 reinforces the idea that the cultural centre of gravity is always elsewhere, that we are worthy of import but not export.

Highland 2007 should have been more proactive in “showcasing the unique and special nature of Highland culture”, perhaps taking a major touring exhibition of Highland-based or inspired artists and makers to Edinburgh, London and Europe or beyond.

Lack of visual representation in Highland 2007 aside, The Cutting Edge is an inspirational exhibition of international importance, containing exceptional work which naturally explores relationships between conceptual approaches to art and craft, traditional fine craftsmanship and new technology.

The diversity of work on display and the ideological depth of some of the pieces will challenge audience perception about craft, the role of design and perception about the function of decorative objects.

It is significant that many of the artists featured have been involved in residencies or research which has allowed them freedom to push the boundaries in terms of materials and their own practice beyond the concerns of commercial production.

Rose Watban, Curator of Applied Art and Design at the National Museums of Scotland, commented that “the quality of work being carried out by contemporary makers in Scotland is incredible” and I quite agree. However, it remains to be seen how this is to be developed and promoted at national level through craftscotland and the new Creative Scotland.

The Cutting Edge is on display at IMAG, Inverness until 25 August, and then the Gallery of Modern Art, Glasgow (September 20 – 25 November) and the Aberdeen Art Gallery ( 9 February 12 April 2008.)

© Georgina Coburn, 2007

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