Visual Art
INTERVIEW
Alexander Kennedy speaks to JR Ewen at the South Side Studios about his upcoming show with Olivia Gurtler
AK Can you tell me about the work you'll be exhibiting?
JRE My work will include a small video piece and fabric compositions based on women‘s costume. Bodices. boned supports for gowns. modern BDSM clothing lend a structure for the designs. The compositions are made With MDF frames much like canvas stretchers. to build geometric shapes.
AK Your work also seems to fluctuate between sculpture and painting. Is this a continuation of Minimalist examination of the canvas/painting as object?
JRE The ioming of two canvas stretchers and the form and beauty of that join was indeed a minimalist choice. The idea of multiple canvases. joined and painted. has been explored by many an artist. My focus has been on how the fabric can stretch into curves turning the canvas/painting object into a discipline in itself. AK You also seem to keep colour to a minimum. Why is this?
JRE Colour is still a struggle which is why the fabric itself is dyed or has its own colour. Painted surfaces tend to kill the soft qualities of fabric. Some early work had painted frames in which the colour could be seen through the canvas. Light would bounce around inside the frame creating gradients of subtle colour on the surface of the canvas. Was this then a painting? Or just an ambiguous form still trading on the veil of beauty.
AK The ‘paintings' seem to be more about the frame than the canvas itself — is this the case?
JRE The canvas is contorted and bound by the frame. however the frame only exists as a vessel to mount the surface of parabolic curves. So there is a power struggle. They must both come together. for in their natural state both frame and canvas are barren. They've got to have sex.
I Gun/er & Ewen, SouthS/de Studios A few lucid moments. Aug 25—2 Sep. For more information see southsidestudios. org
40 THE LIST ”'3 Anti \
Exhibitions are listed by city, then alphabetically by venue. Submit listings at least ten days before publication to art©list.co.uk. Listings compiled by Kirstin lnnes.
Glasgow
I CCA
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I COLLINS GALLERY
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I GALLERY OF MODERN ART Ro}u| l'.\t'liuiigt' Sqiiui'c. 33‘) I‘No .\loii \Vt'il k Sut llluiii 5pm; lhii Illiiiii Spin; l‘l'l x Sun lluiii 5pm. l'lt‘t' Histrionics O... l‘iitil Siiii 2S ()t‘t (iliixgim gii‘lixl Roili‘i’it‘k lltit‘li;iii;iii\ lutcxt L‘\llll\llltill l\ u I'L'SPUHSC to Illt' \ct‘tui'iuii tli\ ltlt' thui rips iiglii ihi'ough iiixuullx iht' PUHI'L'Sll sinus of (iluxgou liiit'liuiiuii ll\t'\ llllll. gi'uplix uiitl t'xot‘utixt'. loutlt-il llltlSlt‘ :iiiil lllliljJt'S. loi't'iiig Illt' \pccluioi' io i'ciiiciiihci ltim i‘cul llll\ iiiiolt'i'uiit‘t' IS.
I GLASGOW PRINT STUDIO
,lS Kiiig Slit-cl. 5530714. 'l‘uc Sui lflziiii 5. illpiii. I‘l't'L'
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I GLASGOW SCHOOL OF ART Illt‘ \lut‘kiiiloxli (itillci'). l(i7 Rt‘iili‘t'\\ Sii'ccl. 353 450“. Mon l'i‘i Illuiii 5pm; Sut Illuiii 3pm. l'i'cc.
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I GLASGOW SCULPTURE STUDIO
'l'hc Brigguil. |~l| Hi'iilgcgulc. 553 llSS. \Vcil Sun llillll (iplli.
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I HUNTERIAN ART GALLERY l'iiiwi‘xit} ol(i|;i\go\\. S3 llillhciiil Sti‘ccl. 35“ 543i .\loii Sui ‘lfilluiii 5pm. ‘My Highest Pleasures’: William Hunter’s Art Collection t'niil Sui l Dct‘. l:\hihition cclchrutiiig thc hit‘ciiicnui'} ot the lluntcriun (iullcr) h} \lli\\\t‘;l\lll:_‘ ihc hcxi. lllil\l Mitt-rusting \xorkx l'i'oiii thc totinilcr'x collection.
I THE LIGHTHOUSE
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SIX Architecture Awards Sui Ix .-\ug Sun J \o\. Shoucuw ol _\oung iulcni lt‘illlll‘lllg \xork from ihc lllIler \lut'x of Scottish urchitct‘turc. NET. 8%. Shifts Sui IS .-\ug Sun l-1()t‘t. li\liihitioii focusing on thc lone lictchn titliiihurgh untl (ilihgou. uunumng thc poicnuul for future \IC\L‘IUPIIIL‘III in urcux ruiigiiig l‘roiii irunxpori untl coiiiiiicrt‘c to
Post Stuckism is the New Black
Another group show by SW63 in the newly
opened gallery space, featuring work by Fruitbasket Reconnaissance, Mohammed Qasim Ashfaq, Fiona Mackay and Sandy Smith. Since 2004 the building has become a multi-discipline space housing a creative community that includes 25 artists at various stages in their careers.
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I MITCHELL LIBRARY
NH North Slit-ct. IS" 30‘“). Mon lllll ‘luiii Spin; I‘ll & Sui ‘luiii 5pm
Salvino Volpe l'iiiil Sui :5 .\iig I i't'c. .\ ilixplu} ol mm “min h} lhc Iluliuii .‘il’lhl Thomson Meets Mackintosh l'iiiil Stiii .ifl Sup. l'i'cc. .'\ll L'\llll‘llliill h} (it‘i‘ultl liluikic t'oiiipui‘iiig uiiil t'oiiii‘uxtiiig the
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I STREET LEVEL PHOTO WORKS
4S King Sli‘cct. 553 2l5 I. luv Sui
Illuiii 5pm. I‘l't‘L‘.
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Private Galleries
I SCOTLANDART.COM
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Illuiii 5.3llpiii; Sun noon 5pm l'rt-c. Glasgow: an artist‘s view l'iiiil Hi 31 Aug. :\tll'lilll .\lt'.\lurt'hit'. Brynn l'.\;lll\. Kurcn ('uii'iix. \Villiuiii Kt'ri‘. Roiiiiit- RUSSL‘ll. Junict- l)ultoii .lllil
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I SORCHA DALLAS
5 Si Murgurct‘x l’lut‘c. 553 3(th. 'l‘uc Sui l 5pm.
Clare Stephenson Sui IS Aug Sui 32 Sup. NC“ \L‘l ill “0ka tlrmkilig on cluxxicul sculpture uiitl rt'll'lllUIUFISIIL' llL‘lllL‘anrltlS h} lllc )oung (ildxgim iirlhl,
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Artist Spaces
I INTERMEDIA GALLERY
('(‘:\. ‘5” Suuchichull Strcct. 553 254i). [);iil_\ noon (\Plll.
New work by Kevin Hutcheson and Martine Myrup l‘niil Sui lS .-\ug Nut group shoxi
I MARKET GALLERY
“-1 Illllxt' Slit‘i‘l. 55h "lfiti liit' S.il lliiiill (ipiii
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I STUDIO WAREHOUSE +44 141
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Outside the Cities
I DUNDEE CONTEMPORARY ARTS 152 \t-ilit-i'guit: lil KS: ‘Nl‘l‘lllll lui'. \\L'(l. I'l'l & Sut Ill illiiiii 5. iflpiii. lllll lll. 5llillll S. illpiii. Siiii noon 5 illpiii, Pale Carnage .000 l uul Sun 3 Sup. I'TL'L'. l'i‘oiii lhc outscl. llll\ gioiip cxhihitioii ol sculpting. puiiiiiiig. photogi'uph} uiiil lllSlgtlllllliill ilt-t'lui'cx llSL'll prupurcd to tucklc hig lllL'lllL‘S. \lodci‘iiixiii. lifSL'lSIIl. \uilixiii. ilt-xlriitlioii \liochoi‘iiiiig ull ol Illt'SL' lllll'tll} ItlL'ilS iiito u pair of iiictliuiiiwi/t-il :JilllL'l'lL'S IS un uiiihitioux iiiiilci'l;il.iiig thui pup oll llttlltl\(tlllL'l} l‘t-utui‘cx “oil. from .'\ltl.t Riiiloxu uiitl 'Ioiii Burr iillliilljJSl lllllt‘IS.
I THE CHANGING ROOM
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iiooii 5pm. live
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