Kilmorack Gallery, by Beauly, until January 2008

Jim Bond - Blown Away

THE INTRODUCTION of some exciting new work from Charles MacQueen, Blair Thompson, Jim Bond, Sian MacQueen and Anna Raven accompanies a selection of work from Kilmorack regulars Helen Denerley, Angus Clyne, Ingeborg Smith, Lotte Glob, Alan MacDonald, Kirstie Cohen, Peter White, Marj Bond, Lawrence Broderick, Nael Hanna and James Hawkins as part of this latest mixed show.

Jim Bond’s sculpture “Blown Away” in copper and steel is a beautifully constructed and lyrical piece on an intimate scale. The steel framework of the figure is skilfully modelled, caught in a moment where it begins to disintegrate in response to an unseen force. Copper plates that clad the figure like an exoskeleton are suspended as they fly away in a trail behind the male figure with his head bowed, bracing himself against a mighty wind. Wires attached to the figure move on approach, gently animating the work.

“Figure Head” (Copper & Steel) is another witty and well executed piece with the scale and form of a human skull. Numerals of varying sizes interlock to form the hollow head. The ingenuity of these pieces, their craftsmanship and humour are distinctive and engaging.

A series of works by Blair Thompson make a strong and lasting impression. “Intersection” (Oil on canvas) combines a still ground of deepening bluish grey over which a select palette of yellow to green and alizarin crimson to cadmium red define bold abstract forms. Black and textured impasto creates a unique signature upon the work. The style is dynamic and edgy, revealing a raw quality that for me recalls the work of the great Australian artist Albert Tucker.

Although forms suggest a built or post industrial environment they also have the presence of human figures. “Vestige” is another fine example in turquoise green, coral red and deep black. This could be read as the final stand of a decaying structure or a pair of sparring figures. There is economy here in expression which is immediate, bold and intensely refreshing.

Smaller works in the show including “Ishite-ji – Pagoda” and “Moving Through -Kikko Japan” with its blue, black and red stacked architecture suggest Eastern influence. But it is the attitude of the work, the paint handling and choice of palette that reveals a deeper level of this influence than literal subject matter. The dominant palette and the boldness of calligraphy convey an understanding of elements beyond a particular culture or scene.

In complete contrast Sian MacQueen’s work is quiet and introspective. Her acrylic on gesso technique creates fascinating rippling textures in a series of tranquil seascapes. “Sky Clears West of Jura” reveals its underpainted layers with a pastel-like softness. The surface of the work is like a skin with dancing contrasts of colour and texture in the foreground.

This technique is used to great affect in “Corryvrekin Squall” with its shaft of light breaking through dense low cloud and illuminating a concentrated section of dark ocean. The foreground treatment scratched away and distressed like a piece of driftwood is immediately tacticle, leading our eye from a distant scene into an experience which is tangible and meditative.

Two works by Charles MacQueen are for me the stars of this show. “Autumn Pond” combines unbridled energy and brilliant paint handling with perfect composition in a beautifully balanced and refined work. The bare scratched branches burning with intense red, vibrancy of the turquoise water and scoured textures of the background reveal themselves evocatively like layers of perception.

The smallest work of the series “Japanese Pond” is the strongest and most sublime, with the freshness and spontaneity of splattered and gouged paint, flattened perspective and rock solid composition. This is a supremely beautiful work that successfully combines pure expression with technique in equal measure, an enviable achievement for any artist.

Displayed in the vestibule are a wonderful collection of collographs by Anna Raven. “View of Loch Aline A/P” and “View of Loch Aline 4/25″ are the most captivating. This whole process of printmaking is fascinating, retaining the low relief quality and depth built up on the original plate. Here scored textures softly merging blue and black into sepia create a languid mood. Exploring the range of mark on the surface is as much a part of the creative process as the act of viewing the completed work.

There is much to be savoured in this latest mixed show. True to form Kilmorack continues to yield surprises, introducing new work to Highland audiences and maintaining superior standards of presentation. Work is allowed to breathe in this space and it is always a pleasure to view work in such an environment. It is no surprise that in the last decade the gallery has established an excellent reputation presenting a consistently high standard of work and this latest exhibition is no exception.

© Georgina Coburn, 2007

Links

• Kilmorack Gallery
• Additional images from the Christmas Exhibition 2007