Through the media of paint, glass and photography Rosie McClelland and Pamela Greene each explore the complex issue of identity. Recognising that identity has may facets and is subject to reinvention, their work explores the relationships we form with certain people, landscapes or objects and why these draw us close on emotional, spiritual or physical levels that we do not always understand. Drawn to the imperfections in the human condition and in nature, McClelland’s and Greene’s work recognises that it is in connecting with these fault lines that we find our DNA
‘Little Blue’ oil on linen 50 x 40cm Rosie McClelland
The condition of self is transitory, never fixed. Our position within society, family and workplace can change radically throughout our lives. It is with this in mind that I approach my work which is first and foremost intimate and reflective, a personal response to my subject matter.
My chosen method of working is figurative, weaving underlying abstract forms into reality and, in the process, hopefully creating a sense of presence – a vibration. The study of the human body, an ongoing fascination throughout my life, returns time and again as does the art of still life which is about much more than the objects it portrays and more often than not represents human relationships. Another repeating motif is the tethered boat, so long a symbol of the spiritual, at times swaying on choppy seas, times on still waters portraying a reflection of the self.
Woven into this process is the acceptance of faults, fractures and imperfections as it is only through a holistic view of reality that the truth and the real self are revealed. Rosie McClelland
Iceland Series ‘Frozen Sea’ dia 30cm depth 18cm Pamela Greene
Through the media of kiln-formed glass, photography and poetry I explore my primary interest, identity. I am particularly drawn to the identity of landscape and why many of us make emotional or spiritual or physical connection with wild and inhospitable places whose beauty is often savage and transient.
My current work focuses on the landscapes of Iceland and Ireland, sustained sources of inspiration. For my ‘Iceland’ series I chose to work with glass for its versatility: its ability – like ice – to transmit and reflect light, its reaction to fire, and, like the landscape of Iceland, its strength and vulnerability. These properties make it the perfect medium to try to reflect the spirit of a landscape whose identity is shaped by ice and fire.
My glasswork is supported by photographs of Donegal, a landscape similar to that of Iceland. In these I have sought to capture the essence of a fractured and fragmented landscape where it sometimes seems that the identity and history of our ancestors can be read in the faces and fault lines of the rock formations.
Working with glass and photography has enabled me to explore how landscape, actual and remembered, shapes our sense of who we are and where we come from. Pamela Greene
On Saturday 12 Nov 2016 10am – 4pm, I shall be tutoring a life drawing workshop in the Island Arts Centre, Lisburn. Please contact the Island for details
This year, in May, I undertook a new, exciting venture. In conjunction with my talented daughter Jessie ( www.jessicaweberphotography.com ) I led a tutored sketching/photography break in Berlin.
With a small, select group we took in the sights of that fascinating city, visiting locations such as the Eastside Gallery (old Berlin wall), the historical Oberbaumbrucke to the beautiful Museuminsel, Gendarmenmarkt, Berlinerdom amongst many others, sketching and taking photos on the way.
Included during the week were gallery visits, most noteworthy of which this year for me was the Erwin Wurm exhibition at the Berlinische Galerie.
Below are a few examples of work undertaken during the course but, for a fuller picture, head over to the Drawing in the City website www.drawinginthecity.com and have a peek.
Just a few images from this year’s sketching workshop in Donegal.
Eight painters took part over 4 days starting on the Sunday evening with a meal and a chance for everyone to get to know each other followed by a short talk on what to expect over the coming days.
The weather when I travelled down from Belfast on the Saturday was horrific. The rain was coming down in stair rods and Sunday wasn’t much better! Just as I was expecting to put plan B into operation, on Monday morning the sun came out and we were off to our first location, Maghera waterfall (above) and later across the dunes and down to the beach and caves (below)
Making marks to convey the movement of the water and texture of the vegetation.
Moving into colour and making colour notes
On Tuesday we travelled down to the very tip of St John’s Point for a panoramic view of the Sligo mountains across to Sliabh Liag.
Tonal sketch capturing depth and atmospheric perspective
Negative drawing of ragwort
Not a bad place to have a picnic!
The plan for the final day was to sketch around the Church graveyard and megalithic Ogham stone in Glencolumbcille, beautifully nestling in a valley surrounded by rolling hills. As we settled in to sketch and, in some cases, take rubbings from the ancient stones, the rain set in.
Now, in my experience, rain in the hills doesn’t always mean rain elsewhere in Donegal so we set off for a favourite spot of mine- a peaceful little harbour on the coastal road between Kilcar and Carraig with a spot of retail therapy on the way at Glencolumbcille Woollen Mill and Kilcar’s Design Weaving Studio. Sure enough we managed to escape the rain here and spent a peaceful afternoon with nothing but the sound of lapping water and seagulls crying.
Thank you to all who took part on the course you were amazing –