News — glasgow
A Play of Parts | Short Essay on Pum and selected works
Posted by Kim Soep on
Pum's surreal collage fuses together imagery from historical books and probes the uneasy relationship between humans and their technology. A dichotomy of old and new, the black and white aesthetic of yesteryear are like prescient visions that raise issues, feelings and concerns of the modern day. In her ongoing series of works, examining our addiction to faster, more convenient living and its impact on society and the planet, Pum's timeless artworks share a limitless awareness, confronting the profound changes and pressures that accompany technological advancement.
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- Tags: assemblage, blog, colla, collage, glasgow, photo-montage, photomontage, pum, socio-political art, surreal art, women artists
Misunderstood Monsters | A new body of work by Stewart Swan
Posted by Kim Soep on
Like falling down a rabbit hole, Stewart Swan takes us on a journey that burrows deep into a mysterious world full of obscure histories, mythology and age-old phenomena. His chosen subjects, some of them from history, others from legend, tell stories of the intangible, capturing our imagination and arousing our curiosity.
Blemish | Solo Exhibition of Work by Roddy MacNeill
Posted by Kim Soep on
Roddy MacNeill presents 'Blemish' a solo exhibition of art, which he made almost exclusively while in lockdown. Enlightened by his time spent outdoors, examining patterns and textures found in both nature and the urban environment, Roddy's mixed-media works reveal a new heightened awareness of his surroundings. Interested in the visible affects of time, using a range of materials and methods, Roddy replicates weathered surfaces like rusty metal, peeling paint, and sun-bleached wood.
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- Tags: 2020, Abstract, abstraction, art gallery, Exhibition, Glasgow, mixed-media art, Roddy MacNeill
Stewart Swan Interview | An Evolving Process
Posted by Kim Soep on
In our latest interview, we chat to Glasgow-based mixed-media artist, Stewart Swan. Read on to learn more about key influences in his work, his love of 'chance marks and happy accidents' and his aversion to blank canvases.