Layer on the Wall, an exhibition by Simon Halfmeyer at the Briggait, Glasgow

Simon Halfmeyer is currently exhibiting new work in one of the project spaces at The Briggait, Glasgow. The Dusseldorf based artist approaches drawing in an all-encompassing manner. His work traverses two-dimensional and three-dimensional realms, with layers and transparency as important features in his work.

These layers can be seen in the work itself, but also in the way that the work is mounted, just as in this exhibition, the panels were installed over the parallel lines which he has painted onto the wall.

On the opposite wall he had neatly hung three wooden painted blocks. 

This intricate biro drawing had been painted over with some kind of clear high gloss varnish which transformed the painted wooden block into more seductive surface. The visible drips down the sides of the work reveal the making process and emphasise the textural qualities within the work. 

"Simon Halfmeyer’s drawings go beyond traditional boundaries of genre and format. They proliferate up the walls, extend into the room, integrate pictures, become sculptures and venture a step into the third dimension. It is an artificial jungle, a wilderness in the city. Plants and skyscrapers grow up to the ceiling, and street lights seem to disappear into a thicket of tropical foliage. The artist juxtaposes room, dimension and perception. Transparent base materials allow the viewer glimpses of the wall structures and integrate the space behind the drawing. A comprehensive picture archive from his own photographs offers models for the forms.

Simon also collates a picture archive containing cuttings from newspapers and findings, which the artist processes by hand, traces and reduces to outlines prior to scanning. He digitally uses this virtual archive for experiments in collage which, when projected onto the wall, leave an impression of a rampant jungle. The observer will be able to rediscover elements, which in another space, size or colour produce new impressions and effects."

http://www.waspsstudios.org.uk/news-events/layer-wall-exhibition-simon-halfmeyer-briggait-glasgow

Visit to Rowena Comrie's studio

Last week I visited fellow artist and Scottish Artists Union President, Rowena Comrie in her studio at the Briggait, Glasgow.

Rowena and I share a passion for colour and we both work in an abstract manner.

Her website http://www.rowenacomrie.co.uk/abstract.aspx   states:

[Rowena has] an aesthetic in painting that is informed by vibrating colour relationships and formal balancing. The tension between colours and shapes offers to the viewer both an immediate spontaneous response and considered intellectual reflection.

We had an interesting discussion about the process of making work. I enjoy using process to impose some restrictions but open up possibilities within my work, and I think Rowena uses process in a similar way. She pours paint onto a canvas on the floor of her studio and then uses a squeegee to move the paint. The form the paint takes is somewhat uncontrollable. 

I was particularly drawn to some of her smaller framed works, and she explained that these were sections of larger paintings that she had cut up. One of the things I liked about these works was that they were more composed than some of the larger works. I imagine that is because the action of cutting the sections from the larger paintings is adding another process and opportunity for some control. 

Using sections of a larger painting means that it is still possible for the smaller works to feature large marks; this would not be possible if the canvas was made small to begin with.

Often these smaller works are simplified or have a limited colour palate, and this seems to add sophistication as a conscious selection has been made by the artist.

As I sifted through some of her 'cut offs' I was curious as to whether they could be exhibited without a frame, simply pinned to the wall. We agreed to do a work swap, and I selected the following cut offs:

Rowena spoke of her residency last year in America, and the impact that this had on her work. The 'American Series' have a distinct quality and energy, perhaps due to the time constraints placed upon her for creating a body of work to exhibit at the end of the residency. This made it easier to avoid overworking paintings.

Sculptures installed in the Steeple space at the Briggait

I was invited to exhibit some of my sculptures in the Steeple space at the Briggait, and today I installed them. The sculptures were produced during my residency at the Market Gallery.

It is great to get the opportunity to show the sculptures without the rest of the work that was in my Studio Project exhibition as they are given more space.

I chose to position the v-shaped sculpture next to the yellow wall as it brings out the yellow in the sculpture.

Internal Dimension - New work by Del Whitticase

Unfortunately the preview of this exhibition clashes with that of the 1913: Rite of Spring exhibition, but I am looking forward to seeing Del's new work later in the week.

The Briggait opens it's doors for Doors Open Weekend

The Briggait is a beautiful Category A listed building in Glasgow’s medieval quarter, the Merchant City. Originally built in 1873, the Briggait was the city’s fish market for over 100 years. By the turn of the millennium it was clear the building was in severe need of some TLC; rain poured in and parts of the Briggait were entirely derelict. In 2001, Wasps Artists’ Studios set out on the long road to redevelop the building and it has now been transformed into a vibrant new home for over 80 visual artists and cultural organisations.www.waspsstudios.org.uk www.thebriggait.org.uk

A few artists will be allowing the public to have a peek into their studios.