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.
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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.
Join Six Foot Gallery as it welcomes a fantastic group of artists that will be exhibiting with us over the next year, along with showcasing the best art that Glasgow and beyond has to offer.
This year’s highly anticipated exhibition will include a variety of painting and sculptural work by:
Tom Brown, Kate Curry, Daniel Donnelly, Róisín Gallagher, Aurore Garnier, Callum Harper, Siobhan Healy, Vincent Langaard, Hannah Lyth, Alice Martin, Michael McVeigh, Gary Milne, Shakir Mughal, Caterina Monasta, Louise Montgomery, Eilidh Morris, Fionnuala Mottishaw, Anne-Marie Pinkerton, Abbey Rawson, Rachael Rebus, Alexandra Sarah and Hayley Whittingham.
In addition, we will have beautiful jewellery on show from Amanda Bernard and Gillian Ryan.
“As a photographer, the Tradeston area of Glasgow interests me very much. Tradeston is bounded by the River Clyde to the north, the Glasgow to Paisley railway line to the south, Eglinton Street and Bridge Street to the east and West Street to the west. The M74 Extension traverses the hotchpotch of abandoned tenements, burnt out wastelands, low rise 1970’s industrial units, and some new flatted developments – a testament to decades of poor planning and congenital mismanagement by the City Fathers. Tradeston should represent “an open goal” for any Glasgow City Council administration, and should be at the heart of regeneration in the city. Up until now, regeneration has progressed (not always well) in many areas, yet Tradeston, so close to the city centre, remains neglected. The city needs to regenerate that part. It would be pivotal in reconnecting the Southside back across the river.
I was keen to document this area as it is now, before any proposed regeneration commences – if it ever happens.
Glasgow must be the only city in Europe with a major waterway running through it which does not exploit that in any way. If you go to many European cities such as Bristol, you can see that they have converted their disused docks and shabby warehouses into bars, artspaces, accommodation and shops to create an appealing area for locals and tourists alike to visit and enjoy themselves.
Somehow I don’t think this is going to happen any time soon in Tradeston R.I.P.”
Alastair’s recent exhibitions:
2016 ‘On Returning’ Harbour Arts Centre, Irvine
2016 ‘An Roghainn’ (collaboration with poet Kenneth Steven) Aros Centre, Portree
2017 ‘An Roghainn’ Stanza Poetry Festival, St Andrews
2017 Excerpts from ‘An Roghainn’ Scottish Poetry Library, Edinburgh
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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