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Scottish Landscape Painter

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 21 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
These are powerful works, full of heartfelt passion, craft, skill and integrity.
— Giles Sutherland • The Times June 2019

Exhibition book is now available to buy.

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The concern with edges; sea-strands and beaches, hill-tops and horizons. The fascination with fluid boundaries; tide-lines, weather-fronts, cloud formations, scudding skies. The appeal to an unsettled, fluctuating, mobile landscape. All of this references the contingent, liminal, world where everything is in a process of being and becoming. This is surely the magic of these paintings.

— Dr Tom Normand HRSA