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My life in art begins and ends with the Scottish landscape and a deep desire to translate and communicate this in my practice. Through intense dedication to paint, Tatha Gallery, and the artists I work alongside, I have developed an awareness of who I am within my surroundings and what it means to be a working artist in Scotland.

My interest and attention to the links between landscape and abstraction has followed me through my 19 years as an artist, weaving its way with fluctuating emphasis through my ideas and practice. There are strong influences from the effects of the elemental nature of the wilds of Scotland and then there are times that the American Expressionists exert their importance upon my psyche. There are periods of restraint where simplicity serves a purpose with a nod to Malevich concepts of saying more with less. DY Cameron also has a lot to answer for, often reminding me about the realities of form. But like Joan Eardley and Frances Walker the rhythms of the land and sea time after time pull me back to a place where I am most at ease.

There are three major areas to my ever-developing practice and there is no correct way of ordering them. They could be considered an amalgam, or a cacophony, or at best perhaps a balance of moments. It begins with my relationship with the remote areas of Scotland; locations so physically and geographically powerful and intense that it’s hard not to be affected by the spirit of place. There’s a solace to be found in the edges, the margins, the hills and the coasts, and I quite contentedly acknowledge the romantic Victorian visions of the gloom and the glory found in the grandeur of the hills.

 
Helen Glassford Studio
As a painter, Helen Glassford brings a softness to her work, which nudges its way into the visual memory of the beholder. Her abstract landscapes reveal a deft touch and are in possession of a lilting approach to colour and tone. Everything in its place and a place for everything.
— Jan Patience