Callum Innes: Works on Paper Fundraising Event

On 8^th May 2012 Art in Healthcare hosted a hugely successful fundraising evening at the Ingleby Gallery with the  internationally recognised Scottish artist, Callum Innes, giving a tour around the gallery and his paintings currently on show. Innes studied at Grays School of Art in Aberdeen before going on to establish his own style of reductive painting. He was nominated for the Turner Prize in 1995 and later went on to win The Jerwood Painting Prize in 2002.

Walking into the Ingleby Gallery I had no idea what to expect from Callum Innes’ latest exhibition. As a relative ‘newbie’ to contemporary art myself I was looking forward to hearing about the thoughts and processes which go behind his modern, minimalist style.

Innes’ work is often very bold and intense, making use of statement colours and shapes to draw emotion out of the audience - a complete contrast with the artist himself who was very soft spoken and eloquent as he addressed the 20 or so people gathered in the gallery with a great passion for his work and craft. Everyone attending the evening’s fundraising event was pinned on his every word as Innes described his beginnings as an artist, his old college tutors, anecdotes of artists he had worked with, and parts of his life which had inspired his own art. 

“All these works are fragile, emotionally, physically…and (they) retain a human fragility about them. They’re imperfect; if they were perfect they wouldn’t work”

Untitled No 33, 2011
Oil on Canvas

He told us how he regularly finds himself throwing work away and how he is somewhat of a perfectionist. Once out of the studio or exhibition context he regularly sees his work in a completely different light and often discards it completely. He once worked with curator Marco Livingston on a run of 50 books which were to be beautifully letter pressed and each covered with an individual painting. However, when the time came to wrap the books, it was discovered the paintings had been cut down 2cm too short and were therefore unusable. Innes immediately went up to his studio, gathered pictures which had been displayed in the Tate and in the ICA, and cut them all down to the correct size, destroying 30 paintings to make 50 books.

“It was about trying to achieve perfection. I learnt in that process of looking at your work and making decisions about it. I learnt how to edit, which is something you can only really learn through time, and I’m still learning.”

The ‘Works on Paper’ exhibition at the Ingleby Gallery fundraising event was filled with paintings focussing on what had been taken away from the painting, what wasn’t on the page, and what had been left behind, rather than what had been created by the paint. Innes described how when painting onto wax paper, turpentine made certain parts disappear and it was this in which he was most interested

Untitled, 2008
Oil on wax paper

Having been a figurative painter until his early 20’s Innes told us how he slowly worked the figure out of the painting but still kept the gesture and the marks to make paintings as objects. The small series of squares which were displayed on the upper level are an example of this. Two blocks of colour had been painted over each other  freehand to create a semi-transparent look. The result is wonderfully effective and the bold colours oozing out the side of squares really draw in the eyes of viewers.

Quinacridone Violet / Lemon Yellow, 2012
watercolour on paper

“In all the paintings I make there is always a single line that goes through the painting; there’s a moment where the canvas is filled with oil paint and I take a line from the bottom to the top of the canvas so it doesn’t meander, it looks like its formed naturally but it’s controlled, picked out very delicately and it forms itself at a certain point.”

 Innes’ work will be displayed in the Ingleby Gallery until 14^th July 2012 and I highly recommend you make a trip along. Seeing the different layers and textures of the paint on the paper, and understanding the form and gesture of each painting gave me a much greater admiration for contemporary and abstract artists. Innes has also kindly donated two pieces of his work to Art in Healthcare’s collection, one of which will be displayed in the new Royal Victoria Building at the Western General Hospital along with a large selection of other fantastic artworks from our collection which we have just recently hung there.

‘ARTISTS UNCOVERED’: Heather Pugh

My name is Melissa and I am a post graduate student at the University of Edinburgh with my academic interests focusing on art, design, history and culture. I became involved with Art in Healthcare as I’m passionate about getting art out of the gallery and into the community. This is the first blog post for an exciting new project entitled ‘Artist’s Uncovered,’ where Abi Allsopp (AiH's new Media Manager) and I will highlight an artist and their work belonging to the Art in Healthcare collection. The project aims to increase awareness of the various and exciting artworks on display in health and care settings through a bi-monthly blog paired with a video showcasing the chosen artist for that month. Furthermore it enables me to explore why artists are attracted to the charity and how they feel about exhibiting their creations outside a more traditional gallery setting.  

Off the Cuff

 

Heather Pugh’s sculptural artworks are fantastic additions to the charity’s art collection and are already earmarked to be put on display in Edinburgh’s new Royal Victoria hospital with generous financial support from the Hope Scott Trust. Her paintings are bright, colourful and quirky, illuminating warmth and cheerfulness. Each of her creations is completely original and could not be replicated as she utilises objects discarded in bins or found on the city streets. She then arranges these found objects, adding or cutting away at them before applying paint and sometimes other media to create multi-layered and intriguing artwork. Her inspiration stems from the things she finds, taking something ordinary with a defined purpose to establish something new and completely unique.

‘To be blunt my work is almost like glorified recycling’

Ten of her works have been purchased for the AiH collection to be displayed at the hospital and my favourite is ‘Off the Cuff.’ The colours make up an attractive palette: contrasting and bold yet still working together and with the multiple components making the piece visually stimulating. Firstly, there are everyday mundane objects such as a hinge and a door handle, which are painted over in geometric pattern and stripes transforming the lowly door handle into a decorative adornment. Pugh is interested in hinges because of their use and function; they are designed to open and close doors and compartments but by placing them in an alien environment their function changes completely.

Another exciting piece is ‘Sign of the Times,’ which drew my attention by incorporating a key initiating me to ponder where the item originally came from and did the owner miss it. Is whatever the key used to unlock unable to open now? The idea for the painting was inspired by Pugh playing with a piece of wood on her jigsaw, which then developed and expanded after a friend gave her some unwanted objects, including the keys.

‘A key is something every day and by changing its function it tied in with my theme of recreating the mundane.’

Sign of the Times

‘Every Nook and Cranny II’ was also motivated by Pugh’s jigsaw and relates to a piece she made the year before that shares a similar colour palette. The aspect that really interests me in this painting is how she cuts away at the artworks surface, revealing new layers and sometimes completely exposing the wall behind. The manipulation has been made through the addition of enamel and acrylic paints and removing pieces of the jigsaw puzzle and wood.

These artworks are exceptionally enjoyable to look at and emit a positive energy that patients, staff and visitors will greatly appreciate. Most people who need to spend time in a hospital would likely rather be anywhere else and as these environments can be quite dreary, clinical and even a little scary, colourful and uplifting artworks like Pugh’s can make such a difference. Hospitals hold many negative connotations, yet the aim of a charity like Art in Healthcare is to make places like these more pleasant and welcoming. Furthermore, Pugh hopes that her artworks will have a significant therapeutic and affirmative effect on patients’ wellbeing and happiness, as she describes below:

‘Art in Healthcare is a great way to add colour and atmosphere into hospitals, providing a type of therapy for people going through often and anxious circumstances, Things visual are often memorable in our minds eye, and I think it’s great to have art work in hospitals, which are often associated with negative times. If my work can portray any positive emotion in people, and make people smile for a moment, it’s a job well done.’



Every Nook and Cranny II



Feel free to leave a comment and tell us what you think of Heather’s work or what we're doing here at Art in Healthcare. Cheers!