Fine lines online catalogue

Kirsten Coelho

David Poston

Susan HipgraveMiriam Hanid

Wendy RamshawAndrea Walsh

Paul Preston

6th August

5th September

FINE LINESEdinburgh International Festival

Exhibition 2015

Jim Partridge & Liz Walmsley

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Kirsten CoelhoBowl 2015

Porcelain Matt White Glaze and Banded Iron Oxide

H5 x D15.5cmsPhotograph: Will Van Esland

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FINE LINESEdinburgh International Festival

Exhibition 2015

6th Aug - 5th Sept

IntroductionPg 4

Jim Partridge & Liz WalmsleyPg 6

Kirsten CoelhoPg 20

Miriam HanidPg 30

Susan Hipgrave Pg 38

Andrea WalshPg 46

Wendy RamshawPg 52

Paul PrestonPg 58

David PostonPg 62

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The Scottish Gallery Interior 2015Photograph: Will Van Esland

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Introduction

T he Scottish Gallery is delighted to present Fine Lines which

is an international showcase of artists reflecting innovation and our commitment to programming fine and applied arts exhibitions.

The Scottish Gallery is now in its 173rd year; we are a business that did not start out as an exclusive fine art salon but we have grown and developed through the vicissitudes of supply and demand and the fact that our existence has charted many cultural shifts and tastes in Scotland. A steep change occurred when the Edinburgh International Festival began in 1947, our business further developed and embraced internationalism because our audience demanded it as they became accustomed to and were educated by international exhibitions year on year.

For over four decades The Scottish Gallery has exhibited and specialised in objects from every field; jewellery, metalwork, ceramics, glass, sculpture and textiles – developed from a demand from both clients and artists.

We show Scottish work within an

international context. The artist community is a mix of complex, interconnected relationships that cross borders, ensuring that The Gallery remains vibrant and forever changing.

The Scottish Gallery shares the vision that our Festival programme has to be part of the ‘incredible experiences’ that the EIF aims for every year and these incredible experiences are something that we strive for every month, not just for the duration of the Festival.

However, the Edinburgh International Festival and all the collective festivals which take place make August the jewel month in our calendar and we do not take for granted the opportunities, the energy and the talent that the Festival brings to Edinburgh. The Scottish Gallery is incredibly grateful to Jim Partridge and Liz Walmsley, Kirsten Coelho, Miriam Hanid, Susan Hipgrave, Andrea Walsh, Wendy Ramshaw, Paul Preston and David Poston who have all contributed to the experience of Fine Lines.

Christina Jansen, Director

6Jim Partridge and Liz Walmsley’s Workshop, Oswestry 2015Opposite: A bench undergoing the scorching process

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Jim Partridge b1953 & Liz Walmsley

J im Partridge and Liz Walmsley are pioneers of modern British furniture

and have been associated with The Scottish Gallery since the early 1990’s. They both live and work together in Oswestry, in Shropshire near the Welsh border.

The last major presentation associated with The Gallery was From Black to Gold for Collect in the Saatchi Gallery, London in 2012 and the combination of their furniture and vessels quietly dominated the event. Their iconic work is rarely available due to the demands of their public and private commissions and we are delighted to present both their monumental works and small scale vessels which will be displayed throughout The Gallery.

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Jim Partridge studied at John Makepeace’s Parnham House School for Craftsmen in Wood in the 1970s, whilst Liz Walmsley’s first professional life in the crafts was in the world of ceramics. Since 1986 the couple have worked together designing and making furniture.

Their partnership has worked successfully on many architectural projects and environmental commissions. Their studio furniture, much of which is carved from blocks of green oak, often scorched and polished to a lustrous black finish, is in public collections across the world. They have always said that their intention was to make “work with a strong but quiet presence in the landscape”. Public collections include:The Crafts CouncilContemporary Arts SocietyThe Victoria & Albert MuseumThe British CouncilKyoto Museum of Modern Art, JapanBoston Museum of Fine Art, USA

The creative tension resides in the visual and intellectual fact that this work, whilst functional, and clearly so, is also sculpture. We can admire it without using it. We can look at it, it has an aesthetic purpose in itself independent of human use.’Marina Vaizey, London 2003

‘

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Jim Partridge and Liz WalmsleyCurved Bench 2013Scorched OakL270cms

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Jim PartridgeBowl Vessel 2015

Scorched Oak H11 x W41 x D34cms

Photograph: Will Van Esland

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Jim PartridgeWhite Beauty 4 2015

Whitened OakH29 x W27cms


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Jim PartridgeBlack Winged Vessel 2014

Scorched OakH13 x W35 x D16cms


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Jim Partridge and Liz WalmsleyPair of Block Seats 2015

Scorched OakH42 x W74 x D52cms each

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Jim PartridgeFaceted Vessel 2014

Scorched and Whitened OakH36 x W40 x D26cms

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Jim Partridge and Liz WalmsleyLarge Stool 2012

Scorched Oak H40 x W60 x D38cms

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Jim PartridgeThree Disc Vessels 2015

Left Small White Disc Vessel Whitened Burr Oak H19.5 x W24.5cmsMiddle Large Scorched Disc Vessel Scorched Burr Oak H26 x W22.5cms

Right Larger White Disc Vessel Whitened Burr Oak H24 x W32cms

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Jim Partridge and Liz WalmsleyBlock Seat 2009

Scorched OakH46 x W100 x D40cms

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‘our intention is to make

work with a strong but quiet

presence in the landscape’

Jim Partridge and Liz Walmsley

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Jim PartridgeFaceted Burr Yew Vessel 2015

Scorched Burr YewH31 x W39 x D38cms

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Kirsten Coelho working in her studio 2015Photograph: Tony Kearney

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K irsten Coelho trained in Adelaideat the South Australian School

of Art where, after a brief periodliving in the UK, she also completeda Masters in Visual Art. Kirsten nowworks from a studio at her homein Adelaide, South Australia.

‘This series of work draws on an ongoing fascination with nineteenth century migration and exploration into Australia. With objects there is the possibility of creating narratives - each piece points to an associated purpose, imbued with multiple social and cultural histories and interpretations.

There is also the reference to the abstractions found in the everyday, the chip of an enamel mug, the scratched paint of a car or the ageing surfaces of industrial chimneys.’

The white/pale tones of the glazed surface of the works - whilst having their influences in the white porcelains of Japan, China and Korea - seek to capture light and tone. This can suggest histories but also allows for present day reverie and reflection. The composer John Cage in 1961 referred to the White Paintings of Robert Rauschenberg ‘as airports for lights, shadows, and particles …’1 Rauschenberg himself

once referred to the White Paintings as clocks, saying that ‘if one were sensitive enough to the subtle changes on their surfaces one could tell what time it was and what the weather was like outside.’2 In addition to the white is the inclusion of canisters and bowls in a russet glaze, this has the potential to create an interval - an added note - and a new chromatic element.

‘I have always felt drawn to the abstract in art – the potential for understanding through an ambiguous and imperceptible type of knowing. Ceramic objects communicate on many levels and it is these possibilities of engagement and response that I find compelling. The intersection of form, colour, tone and light are the constant drivers.’ Kirsten Coelho, 2015

Public collections include:Chatsworth House, Derbyshire UKNational Gallery of AustraliaNewcastle Art Gallery, AustraliaQueensland Art GalleryGOMA, Australia

1 http://www.sfmoma.org/explore/collection/artwork/25855#ixzz3bOvzITH4 San Francisco Museum of Modern Art2 http://www.sfmoma.org/explore/collection/artwork/25855#ixzz3bOvzITH4 San Francisco Museum of Modern Art

Kirsten Coelho b1966

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Kirsten Coelho Medicine Jar and Two Bowls 2015

Porcelain Matt White Glaze Banded Iron Oxide Saturated Iron

Left Glaze Bowl H5 x D14.5cmsMiddle Medicine Jar H24 x D11cms

Right Saturated Iron Bowl H6 x D14cmsPhotograph: Grant Hancock

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Kirsten Coelho Canister, Two Bottles and Two Bowls 2015

Porcelain Matt White Glaze Banded Iron Oxide Saturated Iron Glaze

Far left Canister H11 x D8cmsMiddle Left Bottle H23 x D9cms

Middle Ring Necked Bottle H21 x D8cmsMiddle Right Bowl H6.8 x D10.5cms

Far Right Ridged Bowl H6.5 x D11.5cms Photograph: Grant Hancock

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Kirsten Coelho Vase, Bottle and Bowl 2015

Porcelain Matt White Glaze Banded Iron Oxide

Left Vase H23.5 x D12.5cmsMiddle Bottle H27.5 x D9cms

Right Bowl H7 x D15cmsPhotograph Grant Hancock

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Kirsten Coelho Tea Caddy and Bowl 2015

Porcelain Matt White Glaze Banded Iron Oxide

Left Bowl H6.5 x D13 cmsRight Tea Caddy H20.5 x D10.5cms

Photograph: Grant Hancock

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Kirsten Coelho Medicine Jar and Two Bowls 2015

Detail see pg 22 Photograph: Grant Hancock

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‘I have always felt drawn to the abstract in art, the potential for understanding through an ambiguous and imperceptible

type of knowing. Ceramic objects communicate on many levels and it is these possibilities of

engagement and response that I find compelling. The intersection of form, colour, tone and light are

the constant drivers.’

Kirsten Coelho.

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Kirsten Coelho Medicine Jar, Bowl and Saturated Iron Bowl 2015


Left Medicine Jar H24 x D12cmsMiddle Bowl H8 x D11.5cms

Right Saturated Iron Bowl H15 x D21cmsPhotograph: Grant Hancock

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Kirsten Coelho Canister, Bottle and Cup 2015


Left Canister H13 x D7cmsMiddle Bottle H22 x D11cms

Right Cup H8.5 x D8.5cmsPhotograph: Grant Hancock

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Miriam Hanid b1986

A fter studying 3 Dimensional design at Farnham University of Creative

Arts, Miriam undertook a Postgraduate training course for silversmiths at Bishopsland Educational Trust in 2008 where she developed specialist chasing and forming techniques. Having also spent a week in Malcolm Appleby’s workshop she began to incorporate the technique of hand engraving into her work, which allowed her to bring depth and intricate detail into the surface of the silver.

Miriam is greatly inspired by the essence of movement in water. She believes water is synonymous with nature and human beings in all its physical and metaphorical representations and finds silver the perfect medium through which to express her ideas. Through techniques such as chasing, repoussé and engraving, she represents the way water shapes the landscape, leaving an impression by carving and removing material.

“The essence of movement in water is the inspiration for my work. In water there is an endless range of forms and patterns, each with its own unique and intricate beauty, never repeating, giving me an infinite visual language with which to express my ideas. I find silver

the ideal medium as it is sensitive to heat, moisture, movement and emotion, and is multi-dimensional just as water is. It reflects 98 per cent of light and can look transparent, so is the perfect material for representing water.”

The Fine Lines collection draws on a multitude of visual themes, including delicate leaf, feather and flower forms taken from around Miriam’s Suffolk workshop, and from a recent trip to Morocco in spring 2015. Miriam was inspired to sit in the hot sun and sketch details of plants and trees for chasing, instantly imagining them intricately chased and picked out in bursts of lemon gold amongst scintillating textures on silver. Her fluid signature style of tactile water ripples, waves, birds, clouds and sea also play an integral part in the collection, embodying Miriam’s all time favourite subject matter - the power of water.

Public Collections include:Worshipful Company of Goldsmiths’, LondonNew College OxfordVictoria & Albert Museum, LondonNational Museum Wales, CardiffThe Pearson Collection

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Miriam Hanid in her studio 2015

‘The essence of movement

in water is the inspiration for

my work.’

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This Page and oppositeMiriam Hanid

Hosta Centrepiece 2015Fine Silver H5 x W63 x D37cms

Photograph: Clarissa Bruce

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Miriam Hanid Inner Light 2015

Fine Silver and Lemon Gilding H8.5 x D22cms

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Miriam Hanid Inner Light detail 2015

Fine Silver and Lemon Gilding H8.5 x D22cms

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Miriam HanidLeft Falling Leaves Tumbler 2015

Hand Raised and Planished Britannia Silver H7.5 x D8cms

Right Olive 2015Hand Raised, Chased and Engraved Fine Silver with Lemon Gilding

H7.5 x D9.5cms

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Miriam Hanid Zephyr’s Breath 2015

Fine Silver and Lemon GildingHand Raised Chased and Chiselled

H7.5 x D10cms

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This page and oppositeSusan Hipgrave in her studio

Photograph: Craig Wall

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Susan Hipgrave b1955

G raduating with a Bachelor ofArts in Graphic Design and

with two decades of art direction inadvertising behind her, Sydney basedartist Susan Hipgrave has discovereda true passion, that of painting onporcelain – her preferred ‘canvas’.“Victorian ornithologists and botanistswould have heartily commendedSusan Hipgrave’s remarkable series ofhand-painted plates. The meticulousexecution (each extra-fine brushstrokesadding an important detail), theresulting life-like renditions and theconsistent format (monochromaticblack on white; identical one-sizeceramic plates) adhere to the ethos ofscientific study. Susan’s ability to focusis well matched by her possession of asteady hand. However, it soon becomesclear that all is not quite as it seems.Susan departs from a straightforwardreplication of flora and fauna byconcocting strange hybrids or byexaggerating features, such as piercingeyes to convey the extreme visualacuity of an eagle. For spectators, aninteractive experience awaits: birds,caught in the moment, watch us,

’

‘As my work with

natural subjects becomes

more detailed, so my subjects become more

assertive.

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ready to strike or to fly away; clustersof twisted vines and treacherousspikes draw us inside. ‘As my workwith natural subjects becomes moredetailed, so my subjects become moreassertive,’ the artist states. ‘When I’mcontemplating a new piece, I start bygoing through my collection of naturalhistory books until I find somethingthat “speaks” to me. I work with itin terms of size and placement, andthen begins the slow and meditativepractice of putting paint to porcelain.I obsess about how fine a line I cando; ultimately, I love seeing all thelittle black lines that I’ve painted cometogether to create an image.’ Despitethe striking maturity of her work,Susan has been working in ceramic artfor less than a decade. For many yearsshe worked as an art director/designerin advertising. Then, in 2005, ‘I walkedinto a shop that was running ceramic painting classes and it was immediately obvious that it was something I had to do’. While she has worked with earthenware as well as porcelain, her medium has always been the plate. ‘My art is contained, so I can pack it up and travel easily,’

Susan Hipgrave hand-painted platesBlack Underglaze on Porcelain


Susan notes. ‘We have a house on the south coast, so I spend much of my time there, painting in daylight.’ ”

Olivier Dupon

P216, Encore! The New Artisans by Olivier Dupon Thames & Hudson, 2015

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Susan HipgraveCactaceae, cactus 1 2014

Hand-painted, Black Underglaze on Porcelain D28cms

Photograph: Craig Wall41

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Susan HipgraveAraceae Colocasia Odorata 2014



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Susan Hipgrave Caltha Palustris Flore Simplici 2014



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Susan HipgraveAsclepiad 2010



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Susan Hipgrave Carpinus Betulus,the Hornbeam 2012

Hand-painted, Black Underglaze on PorcelainD28cms


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Andrea Walsh in her Edinburgh studio 2011

I seek to make pieces that embrace investigation, and some themes akin with jewellery prevail, such as to hold, contemplate and cherish.’

‘

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Andrea Walsh b1974

A ndrea Walsh studied fine art at Staffordshire University before

completing an MA in glass design at Edinburgh College of Art in 2001. In 2009 Andrea was awarded a residency with Wedgwood from the British Ceramics Biennial. During her time at the factoryshe developed her practice, combiningglass and ceramics, and was inspiredby the Minton brand archives.

Andrea’s boxes and fine vessels continue to develop, becoming increasingly refined with new shapes and forms. The combination of glass and ceramics is now encompassing new materials which have helped inform her recent body of work.

“I am fascinated by materials, by their inherent characteristics and symbolism, together with the historical associations and familiarity that they signify. My practice has focused specifically on working with ceramics and glass over the past ten years, creating box and container forms which explore and celebrate the qualities that these ancient and alchemic materials share, including their clarity, purity and translucency.

The addition of a unique precious

metal finish has accentuated the overall concept of the work.

More recently I have been exploring the introduction of additional materials within my practice. Particularly inspired by a recent research trip to Japan, I am interested in exploring a balance and combination of elements. Working with a variety of shared casting techniques within my studio, I have been developing my ideas to include cast metal, which has brought a new dimension to my work, enabled new forms, and has brought additional qualities and weight to the objects that I make. Exploring ideas of preciousness and value through considered, tactile objects, I wish to encourage a spontaneous response to the work. Inspired by a passion for exquisite craftsmanship I seek to make pieces that embrace investigation, and some themes akin with jewellery prevail, such as to hold, contemplate and cherish.” Andrea Walsh, 2015

Public Collections include:Victoria & Albert Museum, LondonNational Museums Scotland, Edinburgh

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Andrea WalshCollection of Faceted Boxes on Opaque Grey Plinth 2014

Fine Bone China with 22ct Burnished Gold and Opaque Grey GlassH5.5 x W21 x D21cms

Photograph: Shannon Tofts

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Andrea Walsh Pair of Round Boxes 2015

Cast Bronze with Ice and Opaque White Glass Lids H4.75 x D8cms each


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Andrea WalshSmall Round Box and Small Round Tiered Box 2015

Left Small Round Box Fine Bone China with 22ct Burnished Gold and Clear Glass Lid H3.5 x D7cms

Right Small Round Tiered Box Black Fine Bone China with 22ct Burnished Gold and Black Glass Lid

H6.25 x D7cmsPhotograph: Shannon Tofts

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Andrea Walsh Rectangular Faceted Box 2015

Cast Silver and Opaque White Glass LidH4 x W12 x D5.25cms


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Wendy Ramshaw, CBE, RDI, is aninternational champion of

modern jewellery and her work has become synonymous with The Scottish Gallery. We have exhibited some of her most ambitious ideas through exhibitions such as Picasso’s Ladies (1989), Room of Dreams (2002), Prospero’s Table (2004) and a Journey Through Glass (2007). Exhibitions such as Room of Dreams, which was designed and created as a theatrical stage set for the jewellery, have become embedded not only in Ramshaw’s spectacular career, but also illustrate the commitment by the gallery to truly original ideas. Her signature Ringsets are representedin over 70 public collections worldwide. Ramshaw’s work also encompasses designs for textiles, screens, gateways and sculpture. She is regarded as one of the UK’s leading sculptors and one of her largest works, The Edinburgh Gate, is located in Hyde Park, London. “You may know that the lines of imaginary maps are often evident in my pieces. They are some kind of

homage to my father’s profession. [He was a deep-sea navigator] Constructed from fine gold wires they may be symbolic of travel and potential discovery. I am often working on a subconscious level. Titles are given to the finished pieces, for example, Lines of Navigation.” Wendy Ramshaw, Rooms of Dreams, 2012. Published by: The Harley Gallery & Ruthin Craft Centre. The Scottish Gallery holds an important collection and her works in Fine Lines are a reminder of her talent, commitment to art and her astonishing contribution to modern jewellery.

Public Collections include:National Gallery of Western Australia, CanberraBritish Museum, LondonMetropolitan Museum of Art, New YorkNational Museum of Modern Art, KyotoNational Museums Scotland, EdinburghVictoria & Albert Museum, London

Wendy Ramshaw b1939

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Wendy RamshawSilver Sentinel Neckpiece 1990

D48 cmsPhotograph: Will Van Esland

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Wendy RamshawLeft Geometric Earrings c.200818ct Yellow Gold H10 x W1.5cmsRight Earrings 199418ct Yellow Gold, Amethyst H4 x W3cmsPhotograph: Will Van Esland

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Wendy RamshawPlan in a Gold Circle Brooch 1988

18ct Yellow Gold D12cms


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Wendy RamshawLeft 10 Part Ring Set 199518ct Yellow Gold and Amethysts Right Pink Dream Ring set 6 Parts c.200418ct Yellow Gold Tourmaline GarnetPhotographs: Will Van Esland

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Wendy Ramshaw Left Pendant Earrings c.2007

18ct Yellow Gold with Garnets H9 x W2cms

Right Earrings 1994

Ceramic 18ct Gold, Amethyst H7 x W3.5cms

Photographs: Will Van Esland

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Paul Preston b1943

Born in Leeds, Paul Prestona.k.a. the ‘Red Mole’ originally

practiced architecture before becoming a self taught jeweller. His combination of fine workmanship and imaginative ideas make him one of the most distinctive contemporary British jewellers today.

Paul practiced architecture for just two years before retiring to dive the waters round Lands End for crawfish and the recovery of non-ferrous metals from wrecks. He is a self taught artist who became interested in jewellery after seeing the jewellery of artist and sculptor Breon O’Casey.

A large proportion of Paul’s work is based on themes from nature, especially birds and fish. This natural world in metal, often has a strong element of fantasy influenced by cartoons and story books, as well as a whimsical, poetic quality.

“I’d always been immersed in craft work, I admired and collected Bernard Leach pottery when in St Ives. A studio artist who cared more for work than money, I wished to emulate the great man and to make collectable work. It

was after seeing jewellery, based on nature especially birds and fish, made by Breon O’Casey that I knew which way to go.

I was able to support myself by diving for crawfish and later on for scrap metal from the various wrecks around Land’s End; since I could live off the sea, there was no pressure on me to make commercial work. I did what I pleased. It’s not been easy to keep it up, but I have.” Paul Preston now works from his studio in West Wales.

His work is in many public and private collections including the Victoria & Albert Museum, London.

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...there was no pressure on me to make commercial work, I did what I pleased. It’s not

been easy to keep it up, but I have.

‘

’Paul Preston in his studio, West Wales 2015

Photograph: Jean Thomas

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Paul PrestonBelow The Seas Gift to Man Brooch 2007Yellow Precious Metal Beads SilkH5 x W5 x D2.5cms

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Paul PrestonLeft 20 metre Yacht Brooch 2006

Yellow Precious MetalH4 x W4 x D1cms

Right Bits and Bats Brooch 2012Yellow Precious Metal

W5 x D0.5 cms

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David Poston Arthur’s Bracelet 2013

Wood Recycled Mild SteelH10 x W9 x D8cms

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David Poston b1948

D avid Poston is a highly unusual artist and is currently subject to a touring

retrospective of his work; Necklace for an Elephant and Other Stories: The Working lives of David Poston. Born of British parents in Moscow, Russia in 1948 he was educated in the United Kingdom and graduated from the jewellery design course at Hornsey College of Art.

David worked as an artist-jeweller using mainly non-precious metals and other materials from 1970 until 1984, and then again from 2000 until the present day. In between he has worked to assist in the development of sustainable livelihoods in twelve different African countries. He has contributed inventions through medical technology research, introduced a 3D haptic interface to potential developers in the UK, was involved internationally in several high-tech start-up companies and spent three years as leader of the Jewellery and Silversmithing programme at Loughborough University.

He currently works from his studio in Suffolk.

Information compiled from his biography p68-69. David Poston, Necklace for an Elephant and Other Stories: The Working lives of David Poston.

‘Those who know Poston, in whichever of

his diverse fields, recognise him as a pioneer and pathfinder, driven by an unremitting sense of curiosity….Ideas tumble out of him as fast as he can express them, and often faster than others can grasp them.”Elizabeth Goring

(p18-19 David Poston, Jewellery For Life, Necklace for an Elephant and Other Stories: The Working lives of David Poston. Published by The Harley Gallery & Ruthin Craft Centre, 2014)

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David PostonBeads and Rectangles Bangle 2011

Stainless Steel with Black Glass BeadsInterior measurements H10 x W10.5 x D4.5cms

Ideas tumble out of him as fast as he can express them, and often faster than others can grasp them.’Elizabeth Goring

‘

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David Postonleft Bangle with Glass Beads 2010

Stainless Steel and Glass BeadsInterior measurements H6.6 x W7cms

Right Titanium Bangle 2009Forged Titanium with Patina Finish

H7 x W6.5 x D4cms

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Published by The Scottish Gallery to coincide with the exhibition Fine Lines

Edinburgh International Festival Exhibition6 August – 5 September 2015

Exhibition can be viewed online atwww.scottish-gallery.co.uk/finelines ISBN: 978-1-910267-18-9 Designed by Sarah Diver LangPrinted by J Thomson Colour Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers..

Susan Hipgrave Caltha Palustris Flore Simplici 2014



The Scottish Gallery is a partner of the Edinburgh Art Festival.

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FINE LINES

‘I have always felt drawn to the abstract in art, the potential for

understanding through an ambiguous and imperceptible

type of knowing’

Kirsten Coelho

Documents

Fine lines online catalogue