1 2 Index Introduction

4-5 Shona Barr The Art Company (Scotland) Ltd was created out of a desire to bring modern business methods, modern technology and modern 6-7 Steven Campbell customer service to the Scottish art market. The Scottish art scene today is perhaps at its most vibrant, with artists working 8 Gerard Burns in many styles and idioms. It is our belief that the high quality of contemporary Scottish art deserves a modern approach, in order to 9 Ken Currie raise the visibility of Scotland’s artistic talent to its proper place on the world stage. 10-13 Peter Howson The Art Company (Scotland) Ltd is passionate about Scottish art. We have made a promise to broaden the marketplace for all artists who 14-15 Johanna Logan approach us, whether well-established or at the start of their careers, judging them only on the quality of their work. Our commitment to 16-17 David M. Martin Scottish art and artists is long term, for we want to help them remain 18-19 Frank McFadden at the forefront of contemporary art for many years to come. In a bold and innovative step, we own and have in stock all the 20-21 Graham McKean original artwork we exhibit. We believe this offers our customers a more reliable, immediate service, and, furthermore, allows us to give 22-23 Alexander Millar financial support to up-and-coming artists, enabling them to thrive in what is an ever more competitive market. 24-25 Peter Nardini In this catalogue are some of the most beautiful, powerful, vibrant 26-27 Gregory Rankine and thought-provoking paintings now being created in Scotland. It is a diverse scene, but The Art Company (Scotland) Ltd has the 28-29 Jonathan Robertson expertise to bring to you both internationally established artists and their younger contemporaries. 30-31 Anthony Scullion The full diversity of Scottish contemporary art is revealed in the 32-33 Sam Skelton following pages, with something for every taste. These paintings together create a rich blend of inspiration, from the prosaic to the 34-35 Graeme Wilcox beautiful, the religious to the taboo, the humorous to the profound.

3 Shona Barr Wet Sands Wet Oil on canvas : 48” x 60” Hilltop Trees Oil on canvas : 48” x 36” Swiss Alps Oil on canvas : 48” x 36” Edge of the Park Oil on canvas : 20” x

4 Shona Barr graduated from Glasgow School of Art in (RGI, 1989) and the Superior Prize, Winter Olympic painting en plein air in the landscape, then returning 1988, and has since studied at Statens Kunstakademi, Games Exhibition, Japan (1998). to the studio to create a large scale canvas in oils with Oslo; Winchester School of Art, Barcelona; and the vibrant colour combinations and varied textures of paint. In Barr’s work, the heritage of the Scottish Colourists University of Southampton. of the 1930s is brought up to date, with her glorious, Rather than a literal representation of the Highlands She exhibits widely across the UK, including the Royal glowing landscapes. of Scotland or the Khyber Pass, her paintings are an Academy, London; and the Royal Scottish Academy, expressive and emotional response, revelling in the Each is her personal response to the natural Edinburgh. Her work is held in many public and private beauty of the natural world. environment, refined through a process of watercolour collections. She was awarded the David Cargill Award Ayrshire Beach Ayrshire Oil on canvas : 48” x 36” The Way North The Way Oil on canvas : 48” x 60” A Fresh Day on the Moor A Fresh Oil on canvas : 20” x

5 Steven Campbell Robin Red Breast in a Rage Oil on canvas : 36” x 24” Backwards in a Mirror Painting Oil on canvas : 45” x 32” Over en Plein Air Tripping Painter Oil on canvas : 38” x 54” Modelling Rings for Giants Oil on canvas : 36” x 24” The Striking Gardeners Oil on canvas : 38” x 54” Master and Apprentice - The Green Man at Rosslyn Oil on canvas : 36” x 24

6 Steven Campbell, the son of a steelworker and a language of painting. His alter-ego, the tweed-clad references as diverse as Rosslyn Chapel’s Prentice steelworker himself before attending Glasgow School ‘Lost Hiker’, finds himself in a world where everything is Pillar, Cézanne, The Green Man, Bela Lugosi, Dr Jekyll of Art, exploded onto the Scottish art scene in 1982 in topsy-turvy, full of broken signs and references to past and Mr Hyde. Less dark than previous work, the themes the Scottish Arts Council exhibition ‘Scottish Art Now’. artists, literature, history and myth. of ‘apprentice and master’ and ‘the actor’ are expressed He soon became the driving force behind the group in complex compositions with surreal humour and in a After a subdued presence in the art world for nine of painters known as the new ‘Glasgow Boys’, whose glorious patchwork of colour and detail. years, Campbell returned with ‘The Caravan Club’ at the large-scale, figurative paintings marked a renaissance in Talbot Rice Gallery, Edinburgh in 2002. These beautiful The Glasgow Herald has acclaimed Campbell as ‘the painting and Glasgow in particular as a cultural centre. yet savage paintings reflected tragedies in Campbell’s finest Scottish painter of his generation’, and these By the mid-1980s, Campbell’s international reputation own life as well as exposing the fragility of the everyday recent paintings as ‘stronger, more analytical than they was established with his move to New York. world. In 2004, Campbell launched his first major have been in a long time’. The works in this catalogue Campbell’s paintings are stylistically and metaphorically show in Glasgow since his groundbreaking exhibition are some of his very latest. complex, combining an eclectic range of personal and at the Third Eye Centre in 1990. Entitled ‘Jean-Pierre literary sources, and an understanding of the inherited Léaud’, after the film actor, this body of work combines Portrait of Linton Strachey Surrendering to the Windsor Knot Portrait Oil on canvas : 30” x 20” Figure at the Bottom of an Aberration Oil on canvas : 36” x 24” The Nursery of the Barber/ed Hatter Oil on canvas : 36” x 24” The Apprentice Cuts His Own Fate Oil on canvas : 24” x 20” The Blind Magician Oil on canvas : 39” x 25”

7 Burns attended Glasgow Art School, His large canvases, using friends and Burns now works from a studio in graduating in 1983, but found his family as models, turn ordinary scenes Cumbernauld, near Glasgow. He exhibits figurative work at odds with the artistic into mythic dramas. ‘I paint real people, regularly in Glasgow, Edinburgh and trend for abstract conceptualism. He real scenes, real life’ he told the Daily London, has work in many private and then turned to his second love, music, Mail in 2002, ‘it’s hopelessly old fashioned corporate collections and is popular as a becoming a pop singer-songwriter in some artists’ eyes, but most of what is portrait painter. In 1997 he won the N.A. with his band Valerie and the Week of called contemporary art is self-indulgent Macfarlane Charitable Trust Award at the Gerard Wonders. and trivial’. RGI, and in 2002 he won the first ‘Not the Turner Prize’ competition. After about four years, he became He is inspired by Velasquez, where disillusioned with the music industry, but the most casual brushstrokes create a found new inspiration in teaching art. He beautiful whole. Burns has stated that ‘my was able to commit to painting full time in goal is realism, but it’s by increasingly Burns 1999 after a decade of teaching. abstract means that realism is attained.’ Contemplation Oil on canvas : 40” x

8 Ken Currie is another of the artists of decaying and damaged bodies. In to transfer such philosophical ideas into who burst onto the international scene recent years, Currie has further simplified paint means that Currie is undoubtedly in the 1987 exhibition ‘The Vigorous his style, his figures becoming less linear one of the most powerful and evocative Imagination’, after studying at Glasgow for glowing, haunting evocations of the artists of our time. School of Art. His early work took subjects body. His social and political stance is Currie has completed special commissions from the political and industrial past of combined with a philosophical questioning for bodies such as Scottish National Glasgow, with crowd scenes painted in of an unbalanced, cruel world and the Portrait Gallery and the Glasgow Royal a linear, powerful style inspired by trade fragile nature of human existence. These Concert Hall. He is an artist of international Ken union banner art, Fernand Léger, Mexican ambiguous, almost impenetrable paintings reputation, exhibits widely throughout the mural artists and Otto Dix. gain their power from being situated at world, and his work is in private and national the edge of understanding, mirroring the In the early 1990s, the political and collections as far apart as Tate Britain, the condition of human consciousness. His humanitarian events in Eastern Europe Yale Center for British Art, Boston Museum haunting images are contingent, oscillating greatly affected Currie. His response of Fine Art and the Cambelltown City Art between here and not here, life and death, to what he felt was the sickness of Gallery, Australia. a constant process of becoming. His ability Currie contemporary society was dark paintings Earthly Remnants (After the Death Mask of Fox) Oil on canvas : 48” x 36”

9 Peter Howson OIL PAINTINGS End of the Road Oil on Canvas : 48” x 40” Bridge of Hope Oil on Canvas : 48” x 36” Journeys End Oil on Canvas : 36” x 24” The First Step Oil on Canvas : 36” x 24” Exeter Oil on Canvas : 36” x 24” Into the Light Oil on Canvas : 36” x 24”

10 Peter Howson’s powerful figurative work has made him list of past exhibitions, awards and scholarships, Yugoslavia, giving him a sharp new perspective. one of the foremost British artists of his generation. far too extensive to summarise here, range from an Since then, despite upheavals in his personal life, Since the dramatic group show ‘The Vigorous Honorary Doctorate to a Royal Mail commission for The Howson’s work has had something of a renaissance. Imagination’ in 1987, his heroic portrayals of the Millennium Stamp. Spurred on by his love for his autistic daughter Lucy, dossers and down-and-outs, misfits and hard men of By his mid-thirties, despite his enviable international and his interest in charitable work, Howson is once his home town in Glasgow have polarised opinion. standing, Howson felt deeply unhappy, ‘as if afflicted by again producing work of an exceptional calibre. He has However, his work has caught the imagination of public a sickness of the soul’. Success had dulled his creative exhibited highly publicised works of Queen Elizabeth and media alike, making him a celebrity in his own impulse, but in 1993 his work was reinvigorated by his II and pop figurehead Madonna, as well as powerful right. His paintings are bought by the world’s leading appointment as Official British War Artist. He recorded biblical images of ‘The Stations of the Cross’. galleries and collected by a notable list of private the horror and futility of the bloody conflict in the former clients, including Madonna and David Bowie. Howson’s

Hood The Comedy Origen Oil on Canvas : 36” x 30” Oil on Canvas : 36” x 24” Oil on Canvas : 72” x 48” Bosnia Oil on Canvas : 36” x 24” Bagdad Oil on Canvas : 36” x 24” Escape Oil on Canvas : 48” x 36”

11 Peter Howson PASTELS Study for Origen : 20” x 26” (26” 32” mounted) Pastel Shelter : 20” x 26” (26” 32” mounted) Pastel Steel and Power : 20” x 26” (26” 32” mounted) Pastel Ugolino : 12” x 8” (17” 13” mounted) Pastel the Styx To : 20” x 26” (26” 32” mounted) Pastel Judas : 20” x 26” (26” 32” mounted) Pastel

12 Surrender : Pastel : 20” x 26” (26” x 32” mounted) Behind Blue Eyes : Pastel : 20” x 26” (26” x 32” mounted) Red : Pastel : 20” x 26” (26” x 32” mounted)

To the Suffering City : Pastel : 20” x 26” (26” x 32” mounted) Seventh Circle : Pastel : 20” x 26” (26” x 32” mounted) Hope and Sufferance : Pastel : 20” x 26” (26” x 32” mounted)

Spectre : Pastel : 20” x 26” (26” x 32” mounted) Hope and Glory : Pastel : 20” x 26” (26” x 32” mounted) It’s Over : Pastel : 20” x 26” (26” x 32” mounted) 13 Johanna Logan Silver Elephant Oil on canvas : 8” x Ginger Jars Oil on canvas : 18” x 16” Parziual Oil on canvas : 12” x 10” Unmade Bed Oil on canvas : 16” x 14”

14 Johanna Logan graduated from Glasgow School of in oil paint of surface texture. The classic nude turns her memories of childhood. Each object is imbued with its Art in 1994, where she won the Sir Robin Philipson back, becomes a collection of surfaces painted for their own personality. Memorial Award. seductive effect: skin, silk, brocade. Dark tonalities and It is here that jouissance with the artwork takes place: glowing chiaroscuro evoke the drama and sensuality of Her works are in private collections worldwide, including what was initially an object symbolising the personal Velazquez and El Greco. India and the USA. She regularly exhibits in solo and memories of the artist is defamiliarised through the group shows in Edinburgh, Glasgow and London. In Logan’s still-lifes, objects invite touch and closer intense scrutiny of the brushstroke, becoming a portrait scrutiny; they too have stories to tell as relics of a of the objet d’art. Logan’s portraits and nude studies revel in the depiction life. An empty dress evokes its previous owner and

The Little Mermaid and Other Sories Oil on canvas : 12” x 10” 15 David M. Martin Still Life with Horseman Oil on canvas : 40” x 30” in a Landscape Table Oil on canvas : 40” x 30” Church at Tavxion Oil on canvas : 40” x 30”

16 David Martin studied at Glasgow School of Art from Award (RGI, 1995). He was elected a member of the progresses, it takes on its own reality, concurrent 1940-42, and after a period in the RAF, became an Royal Glasgow Institute of the Fine Arts in 1961, of with the artist’s exploration of shape, line, movement art teacher in 1949. Since 1948, Martin has regularly the Royal Scottish Society of Painters in Watercolour and vibrant colour. His still lifes are not ‘set up’ in any exhibited in group and solo shows across the UK. In in 1981, of the Scottish Artists and Artist Craftsmen conventional manner, and as the composition develops 1952 he married and moved to Eaglesham, outside in 1991, and an Honorary member of the Society of they burst with colour and echoing, abstract shapes. Glasgow, where he still lives, and by the early 1980s he Scottish Artists in 1993. One of the most distinguished landscape painters in was able to concentrate on painting full-time. Martin is particularly known for his paintings in Scotland, David Martin’s paintings are in many public Martin has received many prestigious awards, including watercolour and oil of the Scottish landscape and still and private art collections including The Scottish Arts the Robert Colquhoun Memorial Prize (1974), the life. He works in the Scottish tradition of abstracted Council, the City of Edinburgh Art Collection, Flemings, May Marshall Brown Award (RSW, 1984), the Mabel landscape of William Gillies, extracting rhythmic lines Lord Goold and Lord Macfarlane of Bearsden. Mackinley Award (RGI, 1990) and the David Cargill and organic shapes from what he sees. As the painting Sunflowers Oil on canvas : 36” x 30” The Striped Jug Oil on canvas : 24” x 20” and Lillies Poppies Oil on canvas : 40” x 36” Still Life at Anstruther Oil on canvas : 36” x The Decorative Jug Oil on canvas : 38” x

17 Frank McFadden The Unconditional Surrender of Mankind : 20” x 26” (26” 32” mounted) Pastel The Dancer : 20” x 26” (26” 32” mounted) Pastel Blind Alley : 20” x 26” (26” 32” mounted) Pastel Lady M : 26” x 20” (32” mounted) Pastel

18 From the Glasgow area of Maryhill, Frank McFadden is says that ‘Peter helped me to believe that I had a future’, in his paintings and pastels are, like Howson’s, the a protégée of Peter Howson. and his wish to be a better father to his young daughter dispossessed of society. The pain of people’s lives is spurred him on to create a new life for himself. put on display through contorted poses, hard lines and A former sign-writer and graphic designer, just a few luminous colours. years ago he was addicted to drugs and selling The Big Howson and McFadden now share a studio in Glasgow Issue. The older painter, who has also had his problems and exhibit together in Glasgow and New York. As Howson says, ‘I found Frank’s work unbelievable. I think with addiction, met McFadden by chance in a café. McFadden’s fame grows, he is building a list of celebrity he could be one of the great British artists but it will take patrons, including Jessica Simpson and Dawn French. another five to ten years.’ Howson took him under his wing, employing him as a studio assistant and helping McFadden develop his Like many other painters, McFadden uses the canvas own artistic ability and personal strength. McFadden to work out his own personal demons. The figures Red Bull : 20” x 26” (26” 32” mounted) Pastel This Side of Brightness : 20” x 26” (26” 32” mounted) Pastel I Can See for Miles : 20” x 26” (26” 32” mounted) Pastel Forever Trapped Forever : 20” x 26” (26” 32” mounted) Pastel Das Verbotten! : 20” x 26” (26” 32” mounted) Pastel Lament for an Eyeball : 20” x 26” (26” 32” mounted) Pastel

19 Graham McKean Forbidden Fruits Forbidden Oil on canvas : 16” x The Great Romantic Oil on canvas : 24” x 18” One Fine Summers Day Oil on canvas : 24” x 20” Boy Band Oil on canvas : 40” x 32” of His Game Top Oil on canvas : 24” x 18”

20 Graham McKean began his working life in Glasgow’s artist for Scottish Opera in 2002 – an accolade only “I always try to produce paintings that uplift, inspire and Govan shipyards, but in 1979 he took his first step ever before bestowed on Peter Howson. Reproductions give me hope for the future. I have explored a number towards a more creative career, as a graphic artist of the lively paintings McKean produced for Scottish of themes but I would describe my recent work as a specialising in silk screen designs. It was not until 1996, Opera, describing every aspect of the company’s work, ‘celebration of life and living’. As I draw from my own after several posts as a graphic artist, that McKean can be seen outside the Theatre Royal today. experiences there are autobiographical elements, but made the bold decision to commit himself totally to my intention is that the characters appear as ‘every Stylistically inspired by the work of Sir Stanley Spencer, painting. man’ and ‘every woman’. I like a painting to have a story McKean uses bright colours, humour and iconic images behind it and use humour and sentiment wherever I can Since that decision, McKean’s work has gone from to explore the day to day experiences of us all. His as it is important for me to express emotion in all my strength to strength, and his paintings are now widely paintings encapsulate the emotion of a single moment work. If I can convey a feeling of optimism to the viewer collected. His career has been followed closely by the in time, but transcend mere description in the evocative then I will be very pleased.” local and national media, culminating in the massive scenes he conjures up. In McKean’s own words: exposure he received upon being appointed the official London Lady Oil on canvas : 24” x 20” The Man Who Meant Business Oil on canvas : 36” x 24” to Stand and Stare No Time Oil on canvas : 36” x 24” Liberty Oil on canvas : 24” x 20” New Money Oil on canvas : 24” x 20” Many One Too Oil on canvas : 24” x 20”

21 Alexander Millar Brothers in Arms Oil on canvas : 30” x 24” One Step Forward Oil on canvas : 8” x 6” Old Stick Oil on canvas : 18” x 14” Leaning Against the Lampost Oil on canvas : 18” x 14”

22 The characters that populate the paintings of Alexander His love of the steamy atmosphere of the train station A self-taught painter, Millar describes himself as ‘just a Millar are drawn from his experiences of growing up in a in which his father worked can be seen in the smoky big old fashioned nostalgic romantic’, and his paintings small mining village near Kilmarnock, and later moving backgrounds of his paintings, which are also toned by prompt emotional reactions from those recognising the to industrial Newcastle-Upon-Tyne, where he had many the subtle, blue-ish light of the north of Britain. Until vanishing society he depicts. This year he was named jobs before becoming a professional artist in 1988. His four years ago, Millar painted his often humorous, runner-up in the Best Selling Up and Coming Artist of scenes of working people in the 1950s: old men in flat Chaplinesque characters in a landscape, but after the the year by The Fine Art Trade Guild, and he was also caps, gossiping women in head-scarves and aprons, death of his father, and experimentation with layers of a finalist in the Daily Mail’s ‘Not the Turner Prize’. His street drunks and ‘gadgies’. He sees them as ‘different white paint, now his solid, iconic figures leap out of the paintings are greatly in demand internationally, and he choreographed parts in a sort of street ballet’. ghostly background. is collected by celebrities such as Sting and Robert Plant. Me and Him Oil on canvas : 30” x 24”

23 Peter Nardini Figures at St Marks’s Square Acrylic : 12” x

Tuscan Hayfield Acrylic : 20” x 20” Sun Shadows Venice Acrylic : 18” x

24 A graduate of Glasgow School of Art in 1975, Nardini American artist Edward Hopper, initially attracted by the In 2002 Nardini was invited by Scottish Ballet to is a regular exhibitor at the Royal Glasgow Institute of mystery and intrigue created by the presence of figures produce a painting for them, Rehearsal, which now the Fine Arts; the Royal Scottish Academy, the Scottish in his compositions. However, he now finds himself hangs in the Theatre Royal, Glasgow. Several months of Artists and Artist-Craftsmen, Edinburgh; Paisley Art drawn more to the drama, simplicity and timelessness observation inspired a series of atmospheric paintings Institute and several galleries across Scotland and of Hopper’s landscapes. Recently, Nardini has been of ballet dancers in their diaphanous costumes in England. His work is held by public collections like developing his landscapes, seascapes in particular, rehearsal rooms suffused with light. Nardini is also a the Scottish Arts Council and Lanarkshire Education travelling from Glasgow to Tuscany, Switzerland and talented singer songwriter, and has been described by Collection, as well as in private collections in Europe Southern California, to create works full of a sense of Donny O’Rourke as ‘an artist with an eye and an ear for and the USA. place. Bright sunlight, poppy fields, terracotta roofs and transforming detail, a man who can paint stories and sandy beaches become simple, yet evocative, shapes sing pictures.’ Nardini has a high regard for the paintings of the singing with colour. Ocean Leap Acrylic : 18” x 24” Contemplation Acrylic : 18” x 24” Ocean Walk Acrylic : 24” x 18” December Morning Venice Acrylic : 35” x 25” Dharma Bums Acrylic : 35” x 25”

25 Gregory Rankine Crossing Foreign Fields Crossing Foreign Oil on canvas : 72” x 48”

26 Gregory Rankine graduated from Glasgow School of Art embodied by the animal. They could be luscious with the weight of a narrative outside of history. Power, in 1996 and since that time has exhibited in the UK and exercises in visual rhythms, or competitors in the race in its most elemental manifestation, is everywhere. abroad, including Glasgow, London, Dublin, Limassol of the Equirria. This Roman festival in honour of Mars, Rankine’s work is widely collected in the UK, Ireland, and New York. He recently returned from a six-month the god of war, involved a spectacular, riderless race France, Finland and the USA including The Woolwich residency in Cyprus, and is also co-presenter on the between the best horses in the cavalry, competing and The Prince’s Trust. Undoubtedly one of the finest BAFTA-nominated SMG television programme, Trout’n for the privilege of religious sacrifice. The power and present-day painters working on equine portraits, About. sensitivity of these beasts draws us into what could Rankine often takes on special commissions, working be a narrative, but is also a celebration and close Rankine’s horses are not portraits of bloodstock, but with horse breeders and enthusiasts to create a one off examination of the sublime: the shine on a horse’s flank, evocations of the strength, elegance and movement piece. the might of stormy skies. Physical strength combines

Looking Before Leaping Oil on canvas : 22” x 12” Equus Oil on canvas : 28” x 24”

The Crossing Oil on canvas : 22” x 12” Equus II Oil on canvas : 28” x 24”

27 Jonathan Robertson Net Mender’s Table Oil on canvas : 20” x 22” The Watchers Oil on canvas : 30” x 28” Going to Sea Oil on canvas : 24” x 20” The Fish Market Oil on canvas : 40” x 36”

28 Jonathan Robertson was brought up in the fishing make their living from the land and sea. His distinctive, The paintings are so sensuous they seem to smell of community of Banff, in the north east of Scotland, and thickset characters are shipyard workers and fishermen salt and creosote, of soil, earth, diesel, coils of kippery trained at Glasgow School of Art. He regularly exhibits at work on the shore, dressed in yellow oilskins and rope, grass and apples. The encrustations and impastos in group and one-man shows across Scotland and flat caps, gutting fish, mending nets, drinking tea. With of actuality go under glazes, get nacreous, become England, and has shown in Moscow, Berlin and New gentle observational humour and subtle mythological lovely surfaces. For Jonathan Robertson is a painter in York. Among others, Robertson has been collected by symbolism, Robertson depicts the countryside at work love with paint itself. As a poet loves language, so is he Arthur Anderson, Edinburgh Hospital, Ernst and Young, and play: birdwatchers in grass, couples in rowing stirred by vivid pigment and patina, by jewel-like depths Fife Regional Council, Hilton Hotels, Glasgow Art boats, nets hung up to dry, wheatfields glowing in the and polychromatic gorgeousness, moved to celebrate Gallery and Scottish Television. sun. Like so many other Glasgow painters, Robertson and adore the sheer richness of his chosen medium. revels in luscious colour. Scottish poet Liz Lochhead Paint is his prime commitment. Colour is the glory, for Compositionally, Robertson combines his figures with described his work in 2002: ever and ever. the landscape, echoing his subject of people who The Experts Oil on canvas : 22” x 20” Lobster or Crab? Oil on canvas : 16” x 12” Evening Mooring Oil on canvas : 16” x 12” High Shore Conversation Oil on canvas : 24” x 20”

29 Anthony Scullion Figure at the Window Oil on canvas : 14” x 13” Figure in Motion II Oil on canvas : 44” x 38” Figure in Grey Oil on canvas : 14” x 13” Figure in Repose Oil on canvas : 48” x 36”

30 Anthony Scullion graduated from Glasgow School of His figures are most often a single head or figure, the portrait of the beholder – whoever that might be ... Art in 1992. He then spent many years in South Africa seemingly unfinished, against a hazy background, the character of Scullion’s model is thereby lost in the where he had several solo and group shows, returning which has been described as a ‘soulscape’. process of its working. What remains in the end is the to the UK in 1998. fundamental essence of existence itself, and this ‘stuff’ The sketchiness of the figure actually conceals layers of – placed thus before us – is inescapably a portrait of us Although his paintings are ostensibly figure pieces, he is paint, indicating that the motif has been revisited many all. attempting to capture much more than that, the emotion times, enriching the canvas surface. In this manner, he and workings of the soul. explores the beauties of human flesh and the human soul. Scullion has studied the chiaroscuro of Rembrandt, the spirituality of Giacometti and the distortions of Francis Megakles Rogakos, art historian and critic, has noted Bacon, to create his own thoughtful approach to the the Existential air of Scullion’s work, and how he human body. transposes onto his portraiture as much his own self as Study in Red Oil on canvas : 20” x 28” Ratio IV Oil on canvas : 28” x 26” Interior Oil on canvas : 54” x 38” Studio Figure Oil on canvas : 70” x 54”

31 Sam Skelton Conkers Acrylic : 12” x 10” Finders Keepers Acrylic : 12” x 10” Footie Acrylic : 12” x 10” Local Derby Oil on canvas : 35” x 17”

32 Skelton began his career as a graphic designer, which school at the foundry where he worked, and watching playing on the street so familiar from the paintings of he studied at Glasgow School of Art. His art teacher the furnace workers, fill his paintings. His subjects Joan Eardley or the photographs of Oscar Marzaroli. at school had greatly encouraged his creativity, and are nostalgic evocations of Scotland’s industrial past: The influence of the great industrial naïve painter J.S Skelton continued to paint, putting work into a few working class heroes, boxers, a couple on a park Lowry is clear. His paintings are suffused with the dark, galleries, until a few years ago demand for his paintings bench, a group of men in dark overcoats, watching a low light of Scotland in winter, with the factory roof on grew so that he could concentrate on it full time. football game played on waste ground. the horizon line. Skelton grew up in the industrial town of Kirkintilloch, The stark simplicity of Skelton’s figures, painted on Skelton exhibits in Glasgow, London and Dublin, where and his memories of going to meet his father after rough hessian, belie a rich heritage. These are the kids he has a growing number of collectors.

The Great Escape Acrylic : 12” x 10” Playtime Acrylic : 12” x 10” Marbles Acrylic : 12” x 10”

33 Graeme Wilcox Rules of Engagement Oil on canvas : 60” x 54” Just Out of Reach Oil on canvas : 36” x 44” Rapture Oil on canvas : 60” x 54” Reading from the Same Page Oil on canvas : 40” x 44”

34 Graeme Wilcox graduated from Glasgow School of Wilcox’s figurative works always hold something of like stills from an unknown film. Art in 1993. He has exhibited in Glasgow, Edinburgh, the mysterious, playing with the tension of the frozen Wilcox’s most recent work, in the collection ‘Under the London, New York, Paris and Russia. moment, and what might come next. Surface’, depicts swimmers and divers, and closely- He was awarded the Arthur Andersen Prize for Best He explores unusual colour harmonies, the constraints observed character portraits of mature life-guards. Young Artist (RGI, 1998), and Runner-up prize in the of personal expression and masculine conventions to The play of sunlight through water and the shadows of Black Swan Publisher’s Award (1999). His work is held create slightly unsettling scenarios, where the moral of the deep transform the swimmers into beautiful patterns in private and public collections in the UK, Russia, the story is open to interpretation. of light and shade, becoming one with the water as they Qatar, Canada and the USA. His paintings of jugglers, hypnotists and suited men are move through it. Drift Oil on canvas : 50” x 56” Still Water Oil on canvas : 40” x 37” Freediver Oil on canvas : 22” x 29” Old Lifeguard Oil on canvas : 28” x Diving Under Oil on canvas : 60” x 40”

35 P.O. Box 8485 Prestwick Ayrshire Scotland KA9 2DP

Telephone: +44 (0)1292 471 996 Email: [email protected]

www.art-company-scotland.com

Artists websites. www.peterhowson.co.uk www.graham-mckean.com

Copy contributor: Dr Ailsa Boyd : [email protected] Dr Ailsa Boyd is a freelance art historian, writer and curator, living and working in Glasgow. She specialises in 19th century art, literature and culture and contemporary Scottish art.

Anthony Scullion appears courtesy of Flying Colours Gallery

Graphic Design and Typography by Paligap : www.paligap.com

©2005 Art Company Scotland Ltd. All rights reserved. All images shown in this catalogue may not be reproduced or copied without prior consent from Art Company Scotland Ltd. 36