Eilidh Morris encourages their self-conscious to work through automatic art-making and expressive use of colour. The creative practice of making imagination art relies on honest self-representation and a belief that there are no real accidents in terms of content. A psychological element is always present and brings greater introspection on completion of a drawing or painting. Eilidh describes it as imagination art and hopes to evoke conversation and fascination through the dream-like chaos that unfurls on canvas.
‘In Defence of Excessive Sleeping’ is a collection of artworks reflective of Eilidh’s varied artistic styles. The title refers to Morris’ mental health and the positive effect ‘excessive sleeping’ has on the imagination. Perhaps it is okay to sleep for 15 hours if the result is a burst of curious invention. Each piece tells a different story but all were created in a very emotive and fluid artistic process using paints, pro-markers and POSCA pens. This includes autobiographical portraits such as “Maple Cabin” based on a trip to Canada, and “Paisley 2014”,the latter of which blurs a line between memory and nightmare. Also included are creations which exist wholly in a fantasy realm, such as “It’s Waking Up,” which depicts a huge ‘King Worm’ arising from its slumber in a deep, dark cave, and “Theia”, an imagined portrait of a powerful cosmic being.
Eilidh recently brought their multi-coloured imagination to life with the design and painting of a large, unicorn-themed rhino sculpture in Hamilton’s “The Big Stampede” public art trail in summer of 2017. This was eventually auctioned in aid of Glasgow Children’s Hospital Charity. Also in 2018, Eilidh’s graphite piece “Spinal” was published in North-east Scotland’s Magazine of New Writing, “Pushing out the Boat”, and the illustration “Hyper-Stimulation” was featured in mental health charity Subconscious’ pop-up exhibition in San Francisco to help raise awareness and eradicate stigma associated with mental illness.
“In Defence of Excessive Sleeping” is Morris’ first solo exhibition.
Six Foot Gallery would like to propose this exhibition ‘PEOPLE SHAPE GLASGOW: AN OBSERVATION IN PRINT’ to the members of the Glasgow Print Studio to offer an additional platform to exhibit their works in Glasgow and to see what their observations are of Glasgow and it’s people. Who are the people that shape Glasgow and what marks have they left on the city?
The theme of this exhibition although regional is to be liberal in avenues of thought and direction welcoming experimental interpretations of this title in portraiture, still life, abstract, and landscape.
On entering into our exhibition, we’d also like members to write a short paragraph explaining their visual interpretation to the title to which we would then compile the statements into an exhibition catalogue.
Important dates are as follows:
Digital Submissions Deadline: 20th of September
Hand in dates: 4th/ 5th/ 8th of October
Exhibition: 12th of October – 9th of November
Preview: 12th of October
Maximum 2 works (Space pending).
£5 fee per work entered.
To enter into this exhibition please send images of your work to firstname.lastname@example.org along with your personal statement.
Remaining Colours is a series of work which is derived from Shakir Mughal’s previous exhibitions (Chasing Colours – 2016; Blinking Colours – 2015; Dreaming Colours – 2014), sharing a divine affiliation with colour.
“In this work, I have created many forms and shapes with colours in a conceptual way by merging different layers of colours and produced a variety of colourful patterns, differentiating colours and their movements.
Remaining Colours represents the colours that have been left behind during previous exhibitions. However, it is not different from past work. It is produced in the same method and techniques in a very contemporary and abstract way by using colours as a tool to express inner catharsis.”
Be sure to check out Shakir’s work from Friday 9th February.
Utilising traditional methods of hand carving and wood turning; Dalton’s approach is instinctive. Inspired by nature, with a focus on bold patterns accentuated by intricate detail: Primitive aims to capture the essence of prehistoric art combined with contemporary craftsmanship.
Primitive is a line of wooden works produced by Scottish designer Kirsty Dalton. Handcrafted from cuts of natural wood, each piece is individually shaped and burnt free hand; using a process called Pyrography; complimenting the unique, natural form of this beautiful medium.
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’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!
Melanie Wiksell finds in death, an imagery that she wants to exploit and explore to its limits. She aims to distort life with surreal and uncanny elements and draws inspiration from the occult, rituals, the sublime, and mythologies. One of her central interest within these themes, is how people decorate pain.
After three years at The Glasgow School of Art, Melanie Wiksell will now be returning to Sweden to continue her education on the master’s programme at Umeå University, where she looks forward to further expand her artistic expression. Her goal with this programme is that it will help her strengthen the ways she demonstrates credibility in her expression and concept.
Here at Six Foot Gallery, we are currently seeking visual art submissions for our 2014 Christmas Show. This show will run from 1st December – 3rd January and is an excellent opportunity to showcase your work. There are no limitations regarding medium or theme for this exhibition, and a hanging fee of £10 will be required from participating artists.
If interested, please contact Six Foot Gallery at email@example.com
Lea Cummings‘ upcoming exhibition of a series of works at Six Foot Gallery in Glasgow, running from the 2nd of October 2014 until the 23rd, Portals, may be anticipated as the explosive expression of exactly that which it promises; a multi-sensory journey through the portals of the human subconscious. Portals one can only hope to be as fascinatingly unique as Cummings’ previous exhibition “Cosmic Fields of endless possibilities” at the Southbank Centre by the Thames held at the beginning of September. An ‘Unlimited’ commission under the aegis of ‘Creative Scotland’ and developed through Project Ability’s ReConnect programme, the series of artworks for the Southbank exhibition were presented as products of meditative state and an attempt to tap into the collective subconscious through existential chaos, noise and distortion. A tall order; the translation of a higher and, remarkably so, of a shared, spiritual reality hints on Cummings’ primal creative intuition, freed from the “prison of five-sense reality”. The Glasgow-based artist’s previous work and experimentation in various media, such as sound, performance, drawing, computer animation, film and collage shines in this marriage of bold, often fluorescent, colours and raw shapes reminiscent of ethnographic art with vibrant childhood drawing narratives and styles. Throughout his work, it seems as if he has imposed on his own creativity a naivety which, however, one perceives can only ever come from a deeper understanding of the themes and reality stimuli he is tackling, with just pen and paper. Deliberately returning to the vulnerability and buoyant innocence of childhood Cummings is not reduced to mere negation of his experiences as an adult but underlines exactly the realities hindering the kind of higher spiritual creativity and expression his work is aspiring to; social isolation and the hectic consumer capitalist culture and post-modern conformism.