Andrew is a painter, graduating with an MFA from Edinburgh College of Art in 1993. His work mines a territory between abstraction and representation; responding to relationships between landscape and the built environment, focusing often on rivers, reservoirs, tree forms, the edges of fields, car parks, architecture and roads, combined with diagrammatic suggestions of manmade structures or open frameworks. These structures are sometimes invented but more often take their starting point from observed buildings or other objects encountered on walks around his home in the Scottish Borders.
‘All my work starts with an experience of a place encountered, often during a walk or a field trip to a specific place. Walking is a key part of generating ideas, and I will explore and record through notes, small drawings and photography. I often get interested in a place because it resonates with something I’ve seen in art history or film, or it causes me to make associations with something I’m reading or thinking about already – an exchange happens.
From these initial responses I develop the work in the studio, leading to an open-ended process of adding and removing paint or charcoal, working over repeatedly with patterns of lines, dots and dashes. Through this layering of surface, detailed subject matter and mark making, I try to create a sense of looking back and forward in time, in the same moment. I present human and non-human as entangled, overlapping, inextricably linked. I’m not presenting an opposition, but rather a personal vision of a sympathetic and sensitive relationship, a symbiotic co-existence, expressed through a formal tension between surface, line and colour.
I often use objects, structures and places to act as signifiers. Vertical lines punctuating the painted surface may be derived from snow poles, streetlights, the edge of a barn or tree planting tubes. Snow poles, for example, exist to mark the road but are usually seen in the absence of snow - I find the receding coloured verticals against the moorland to be evocative, especially at dusk. They are a human response to extreme weather, markers. I appropriate them from the moor and ‘plant’ them inside woodland, where their function is transformed, playing against the motion of the evening trees.’
His work has been included in international group exhibitions, and he has shown widely in the UK and abroad. His next solo exhibition is with Sarah Myerscough Gallery, London in 2021 and will be showing again with The & Gallery in 2022.
He has received several research and development awards, and has works in many collections, including The Fleming Collection, Marchmont House and The University of Edinburgh. He has extensive experience in arts education and lecturing, with many schools and institutions, including the National Galleries of Scotland.
He has recently built a new studio at his home in the Scottish Borders.
'Opposite Shore (Reservoir)'
Val graduated from History of Fine Art and English Language & Literature at Glasgow University before going on to complete a postgraduate qualification in Systems Analysis and Design. After an extensive career teaching computing as a Lecturer and Curriculum Leader at FE level she returned to her first love of art and undertook the Foundation Course at Leith School of Art before studying at Edinburgh College of Art. Here, she received numerous awards for her work including several travel scholarships, the Andrew Grant Bequest Award for painting and The Katherine Michaelson Prize for writing.
Val has exhibited her paintings widely and recently has had work selected for the 132nd Annual Online Paisley Art Institute exhibition and is currently showing work as part of a new Virtual Art Fair Initiative.
Working from her garden studio Val has been very prolific during lockdown, and beyond. During this time, she has been working on an intimate series of small paintings which capture the changing seasons in the woods and scrubland next to her home. Alongside a fascination with nature’s abundant complexity of form she is particularly interested in exploring in paint the subtle interplay of light, colour and shade found across different weather patterns, days, and times of the year.
As an artist educator Val is passionate about teaching and has taught across all levels from beginners drawing and painting to advanced studio art practice and theory at Edinburgh College of Art. In her new role as Course Leader for the One Day Painting course Val welcomes the opportunity to draw on her extensive experience of teaching to support and enable students to think critically about painting in both historical and contemporary contexts. Across the year students will be encouraged to develop their own artistic voice and to reach their full creative potential through an in depth understanding of the methods and processes of painting, culminating in the creation of a significant body of independently researched work.
'Woodland Shade', Oil and Acrylic on gesso canvas board, 2020
'Dense Woodland Undergrowth', Oil and Acrylic on gesso canvas board, 2020
Matthew graduated with a BA(Hons) in Fine Art from Duncan of Jordanstone College of Art and Design in 2013, and later from the Royal College of Art in 2018 with an MA in Printmaking. He is a practising artist working across printmaking, sculpture, text, performance, and sound. He was selected for the 2014 RSA New Contemporaries exhibition, where he was awarded the Walter Scott Global Investment Award and The Art in Healthcare Purchase Prize. Matthew is also a recipient of the Dewar Award (2016, 2017), was shortlisted for the Stanley Picker Tutorship and the Almacantar Studio Award (both 2018), and was a selected artist for a six-week residency at the University of Calgary in Alberta, Canada.
‘Over the last few years, my work has drawn on my background in printmaking to focus on the unpredictable influence humans can have on a process. This has led to the creation of works in a range of media including print, sculpture, performance, writing, and sound that challenge the preconception that repetition will produce the same results, and instead show something repeatedly redirected, rearranged, broken down, or put back together; showing the variables of process. I am fascinated by the idea that an object’s mechanics allow it to carry out a specific action repeatedly, but the influence of human free will can disrupt said action to alter its outcomes.’
Matthew hopes that the idea of the variability of process is something that he can instil in his students; to show that print is not just a method for churning out reproductions of artworks or a series of rigid techniques, but something that allows disruption, expansion, and redirection of an artist’s work within its repetitive actions. ‘I hope to see them take their ideas and run with them in every direction; to see them make mistakes, understand the fundamentals, and then develop their own unique practice that asks questions of what is possible within the medium.’
'A bone is broken and reset, as a rock is removed from the earth, then returned' diptych, Screenprint, chalk, blackboard paint on paper, 2018
'Variable Floor 1.1', Oak floorboards, screenprint on card, lasercut plywood, chalk minerals, 206 risographs, 2020