Enzo Marra’s creative practice is concerned with the exploration and pictorial analysis of the art world. He explores the juxtaposing perceptions of those involved and those outwith the industry, their valuing and auctioning, the processes and activities that occur behind the privacy of studio doors, the hanging and display of works animated by the commodified space of the gallery, the milling of observers in exhibition spaces, and ultimately how the public presence then gives life and purpose to the works on display.
The use of texture is of great importance to his practice – lending both added dimensions to the oil paints as well as necessary dominance to his brushwork, which is visible within the final image. The physical dragging and building up of pigment is as relevant in his creations as the tonality and colour balance that they are used to express.
In Siblings, Marra has selected a number of figurative-inspired works, alongside palette-based works, which wholly reflect his own painting practice, whilst providing the leverage to further explore such interrelationships. The intricate balance between studio activity and what is permitted for public viewing, and the concept of authentic and true pigment application, is explored in this series of acrylic, enamel and oil canvases.
These works have enabled Marra to be selected for the Creekside Open in 2013, 2015 and 2017; the Threadneedle Prize in 2010, 2012, 2013 and 2016; Beep Wales in 2014 and 2016; Gfest in 2010; Charlie Smith Anthology in 2011; the Open West at Gloucester Cathedral in 2012 and the John Moores Painting Prize in 2012 and 2016.
Marra was a prizewinner in the Creekside Open 2017 – selected by Jordan Baseman – and was included on the shortlist for the 100 Painters of Tomorrow. He was also given an honourable mention in the Beers Contemporary Award for Emerging Art 2013.
Six Foot Gallery is delighted to present the 2017 edition of our annual BEST OF DEGREE SHOW. The exhibition features the work of graduating artists, handpicked from Scotland’s leading art institutions. Artworks range across a variety of themes and mediums, as a representation of the diversity of Scotland’s emerging artistic talent.
Started in 2016 by Europe-based photographer Alexandra Sarah, @ButtermilkWave is an ongoing project – a concept, an abstract idea through which the artist focuses mainly on intimate minimalistic portraiture – with a hint of fashion – to express her own state of mind.
Just like buttermilk itself, the portraits are both bitter and sweet, with a touch of acid and darkness, yet still soothing and ever-flowing. This represents the artist’s mentality; her personal experience with depression contradicts with her positive outlook and faith in the world, her heaviness of heart fighting every single day with her lively character.
Even though Alexandra Sarah employs image processing software, such as Photoshop, to better create her concept visually, she does not use it to alter personal characteristics or erase “flaws” – for she does not believe they exist. By engaging into more minimal approaches, and through the use of mostly cold and pastel tones, she makes her subjects her sole centre of attention, and brings out the genuine beauty that lies in each and every person.
This exhibition has been a development from an earlier project ‘The First Ladies of Football’ which explored the history of women’s football a subject that has been until recently a relatively understudied subject.
Women’s football has been one of the fastest growing sports with an increasing media presence and yet very little is known about its origins and development. This project aims to address this deficit by presenting up to date research supported by artwork and images to tell the history of the Game. ‘Game for Girls’ made its debut at the Annan Museum during the summer of 2015 and to tie in with the upcoming European Championships a new tour of the exhibition kicked off last month at the Scottish Parliament. Among the audience for the show was Dumfriesshire MSP Joan McAlpine along with sports minister Aileen Campbell and local MSP Humza Yousaf, and later in the summer the exhibition will take up residence at the Devil’s Porridge Museum.
Besides artwork, a series of information panels have been produced which explain the development of the game with each panel focusing on a specific part of the story. The first panel for instance focuses on the birth of the game and the first references to women playing football; subsequent panels cover the first association games taking the narrative up to the present day.
Alongside the Game for Girls exhibition, Stuart is also exhibiting a series of landscape oil paintings.
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Living and working in Edinburgh, Silas Parry explores sculptural form and materials in a context of environmental destruction. Through this, he discusses the other organisms that share our world; he is interested in how we relate to other forms of life, as we contribute to ecological change. His sculptures and installations often look to non-human (sea-life, extraterrestrial, fictional beings, planetary forces), and science-fiction futures. He has become increasingly fascinated by encounters with unexpected beings, that can re-frame our role in the environment. These new forms of life result from our political present, yet destabilise our place at the centre of the story.
“Surf ’N’ Turf is a positive take on the end of the world – an attempt to embrace our dark future, and the choices taking us there.
Because in this time of change, we’re no longer in control. We will re-discover the importance of non-human species and powerful, unknown forces. There will be moments of discovery, as organisms around us act in ways we can’t predict.
In the deep-sea Abyssal Zone, we’ve found unexpected life, thriving in fast-changing and inhospitable conditions. And perhaps, far below those midnight layers, there are glimmers of hope; a way to survive.
The title is taken from dishes popular in US steakhouses that combine seafood and red meat. Touching on two major causes of ecological destruction (overfishing and industrial cattle farming), surf ’n turf dinners present an image of abundance without dilemma or consequence.”
After spending her childhood in a hospital room – filling the walls with drawings to pass the time – Francesca’s passion for art led her to Glasgow School of Art. Francesca then spent five years developing her design and embroidery skills, graduating with an honours degree in Textiles. Since then, she had the opportunity to learn, and progress her work further, in a costume department creating 18th century embroideries and costumes. Finally after being surrounded by so many talented and inspiring people, she decided to produce a collection of her own work, entitled A Journey from IBD to Italywhich combined two projects she had previously explored.
Her aim for the first of these projects was to turn something ugly into something beautiful – her experience of “ugly” was her childhood illness of ulcerative colitis and osteoporosis. Francesca looked at examples of the cells of the disease, as well as objects and textures which reminded her of both these cells and the crumbling of bones resulting from osteoporosis. She then tried to create “beauty” from her own interpretations of this research. The other personal project was her travels in Italy, during which she documenting the shapes and textures she saw in everything she passed – from the stones in the old cobbled streets to the beautiful mosaics and marble colours in the churches. These two projects are brought together in her cut works and embroideries.
Six Foot Gallery’s Render presents a series of works by three artists spanning sculpture, photography and collage.
Central to the concerns of the artists is their desire to establish an interactive relationship between viewer and maker; be that through touch, the adoption of a playful and imaginative gaze or through invitation to transverse both internal and worldly landscapes.
Craig Black makes physical his personal experiences of comfort, fear and pain, creating an opportunity for new dialogue on love and loss. This dialogue is realised though his unique touch, from hand drawn line to tactile objects. The viewer is invited to participate by adding the warmth of their hands to his sculptures.
Curious Wonders, a selection of photographs by Louise Dautheribes Mckerl, invites the viewer to experience the fragments of her travels through the US, France, Scotland and Jamaica. In the frame and out of it, the call of the road captured by Dautheribes seeks to spark our own imaginings.
Glasgow based artist Richard Martin‘s collage works create a sense of familiarity and equal unease. In his cuts and process of recording there exists both a continuity and a disjunction with the world as an image.
By establishing an environment in which narrative and experiential fragments can be connected by visitors, Render sees these disparate works meet.
To find out more about each artist stay turned to our blog!