Angus McEwan, Scottish Artist

Saatchi Magazine

2012-01-21T12:44:00.000Z

The Saatchi Gallery Magazine, issue 16, Page 7,Winter 2011. Winsor and Newton have continued to use my work in their advertisment under the heading "Experiment with Tradition". An apt title as I do spend a lot of time exploring the limits of what is possible with Watercolour, but still like to remain "true" to the spirit of Realism. The painting "Chain Reaction" will be on show in M Gallery, Charleston, South Carolina in April 2012, and depicts an old door which I stumbled across in Havana, Cuba. I think the advert is superb, very elegant. Thanks for the support.

A Real Coup!

2011-12-10T13:17:00.000Z

Incredible! The new adverts for Winsor and Newton include the Art of the Real collective. Look out for adverts during 2012 which will focus on each artist involved in the project. This is a Real coup!

ART OF THE REAL: Art of the Real Tour dates 2012

2011-12-07T21:14:00.000Z

Undelivered- watercolour on collage- 2011

ART OF THE REAL: Art of the Real Tour dates 2012: Please see the back cover of our Exhibition catalogue for the Art of the Real world tour 2012. Looks like a very busy year ahead. We hope you...

New video

2011-10-13T18:27:00.001+01:00

Here is a recent video of my painting- 'Painted door of Marsaxlokk, Watercolour on Arches watercolour paper. If nothing else it shows how I hop around the picture plane working up the painting at the same time.

Gallery Q- Mirror Image

2011-09-24T16:15:00.000+01:00

For those of you who reside further afield than Dundee, here's a snapshot of the show. I think it hangs together very well and it will be the last solo show for some time, as I embark on The "Art of The Real" tour.
If you cant make it, enjoy!

Gallery Q- Mirror Image

2011-09-11T18:49:00.002+01:00

Mirror Image

Secrets in the shadows; watercolour; 50 x 42.5cm

Gallery Q- 17th September-15th October 2011

Although a mirror is supposed to reflect truth, it also changes that which we look at. Similarly an artist who reflects on the world around him must also change and interpret his version of truth.

I value time and the way it affects everything. It reveals character within all that it touches. The worn beauty which is slowly coaxed out of peeling paint, rotten wood, rusted implements or wind torn rock appeals to me. I want to record them, but I also want to do so with emotion. I want to say something about my subject matter and as such embellish, change, modify, emphasise and sublimate in order to get my message across.

It is my interpretation of the subject and therefore like the mirror I may reflect upon that subject but at the same time I’m compelled to change it.

Cuba

This exhibition draws upon my experiences from a resource laden trip to Cuba. The neglect brought about by Political isolation creates an endless supply of superb source material for me. Havana is a living city, one which has not been cared for due to a lack of resources and finances. Never the less, she shows all the signs an aging beauty. Growing and expanding, but dowdy and still immensely proud, I found Havana foreboding at times but also friendly. Full of contradictions and packed full of source material, I found I was slightly overwhelmed at first, but once you start drawing, your focus returns and the important stuff comes into view.

Doors, gates, walls, pillars, signs and the interaction of Havana’s residents with the city became my focal point. Building on my past experiences from other trips I draw, draw, paint, photograph take notes and draw again, constructing a bank of knowledge which sustains me in the studio until my next expedition.

I will be back.

http://www.galleryq.co.uk/

ART OF THE REAL: Art of the Real - Tour dates

2011-08-20T18:36:00.000+01:00

ART OF THE REAL: Art of the Real - Tour dates: An indication of the scale of our venture. More information to follow........

ART OF THE REAL: ‘Art of the Real’ a realist revival? by Tara McCar...

2011-05-30T21:33:00.000+01:00

ART OF THE REAL: ‘Art of the Real’ a realist revival? by Tara McCar...: "‘Art of the Real’ a realist revival? Throughout the last three centuries like-minded artists have chosen to converge to form movements in a..."

RWS in Malta

2011-05-20T17:53:00.000+01:00

I recently (last week) went to Malta with 6 other members of the RWS (Royal Watercolour Society) with a view to creating some work, which will be exhibited next year in England and Malta (Valetta). It was an extremely fruitful trip and I came away with a sketchbook full of ideas and many photographs. I thought it would be good to show some of the sketchbook here together, rather than in dribs and drabs on FB. Myself (Angus McEwan), President David Paskett, Jenny Wheatley, Michael Chaplin, George Devlin, Richard Bawden and Dennis Roxby Bott set about making sense of our surroundings. I was impressed by the variety of work, professionalism and general enthusiasm everyone displayed. It was a real pleasure to be involved with this small select group and I look forward to seeing the results next year. As you may notice this work is a lot looser for me due to the heat and time constraints, but this is a stepping stone to further work.

Art of the Real Blog

2011-04-17T21:39:00.000+01:00

Art Of The Real

We have now created a focal point for all information relating to the Art Of the Real Collective. Over the next year we shall post any pertinent information regarding our Exhibitions. This is where you will be able to follow our journey.

Art of the Real

2011-04-16T11:26:00.000+01:00

More information to come..............

www.angusmcewan.com

2011-04-02T11:49:00.000+01:00

is now back in action. So you can access my website through http://www.angusmcewan.com/ or http://www.angusmcewan.co.uk/. If you havent already checked it out please do! If you dont have flash it may look like theres stuff missing, in particular the galleries, but you can still view work in the shop;)

As I've intimated there is a big announcement coming so keep checking in!!!

The New Improved Website!!

2011-03-22T21:57:00.000Z

"Shed some light"- watercolour 2010

www.angusmcewan.co.uk

My new website is now up and running. For the eagle eyed amongst you, you will have noticed an address change. There is now a new web address and once the transition period is over, my previous address will take you to this site also. Hopefully you will also notice that its faster and less 'clunky' than the last one. Lots more images and a shop facility which uses paypal. If you come across something you like, let me know. Your feedback would be appreciated. I shall be adding galleries which will be grouped in terms of subject, but for the moment I decided to keep it nice and simple; work which is available to purchase and archive pieces. If you think something is missing, let me know. Anything you would like to see?

Hopefully this website will shed some light on what I've been up to recently.

There are lots of exciting things on the cards. The next couple of years are going to be extremely busy, hopefully very productive and very interesting!!!

Looking forward to it.

Website

2011-03-04T13:54:00.002Z

Well after many months, nay, years of neglect the website is finally getting an overhaul. It will be launched soon and there will be a discount of mammoth proportions for invited guests. If you would like an invite, please forward your email address to me and you will have the opportunity to take advantage of this limited time offer. The offer will last one month form the official launch date.

Get typing, this is the Electronic studio sale!!!!

Resonance

2010-10-07T17:47:00.004+01:00

Hi, I thought I would post a few images from my current show. This is especially for those who cant make it to Edinburgh for one reason or another. The show looks good. Well spaced, with lots of light, and this current collection will not be seen again in its entirety. The show finishes on the 12th of October and I really recommend you take a gander.

http://www.openeyegallery.co.uk/Open+Eye/Angus+McEwan/

Is that a watercolour?

2010-10-06T15:41:00.009+01:00

Shadow boxer- Cuba, watercolour on collage, UF- 59 x 46cm

the start of shadow boxer

Yes!

Occasionally standing in front of my paintings I am confronted by that question. Even standing peering at the image, I am surprised and delighted that the viewer cant quite ascertain how its been produced. Perfect! I wouldn't want to produce an image that can be easily picked apart.

The two images at the top reveal how i build up the surface before adding drawing, then watercolour.

Its a long and laborious job, with lots of tiny brushes, but the effect is worth it! Well, I have to believe that, or I wouldn't be able to justify the pain and long hours at the easel to myself .

I shan't reveal anymore than that.

Something Different

2010-10-01T18:53:00.003+01:00

"Cool Breeze", watercolour on collage, 80 x 104cm, 2010.

This exhibition offers something different to my usual fare, although I hope, still recognizable as being from my hand.

I have been experimenting with building up the surface of my painting with watercolour papers, tissue, mulberry, hemp etc, (to create a textured surface) on which I am using watercolour. It, of course, creates its own set of problems, but I believe the end result is worth the extra hassle. I have also started to use figures in my work. Not much of a revelation I know, but something I have been wanting to do for some time. I must say, both of these introductions have offered something new to my work which, I hope, will be welcomed by all who see the show.

http://openeyegallery.co.uk/Open+Eye/Angus+McEwan/

Resonance

2010-09-17T12:49:00.004+01:00

New Show

The Open Eye Gallery

34 Abercromby Place

Edinburgh EH3 6QE

Friday 24th September - Tuesday 12th October 2010

Angus McEwan, RSW ARWS

Resonance 2010
As I brush past old walls, doors & alleyways, I imagine sounds of past lives, like whispers in the wind, The walls resonate in my imagination; music, crying, weeping, celebrations, singing, bullets zipping, shouting, laughter, etc, all woven into the fabric of the buildings, untouched by a restorer’s hand.

Human lives lived and lost, a narrative unfolds as I wander with my senses heightened. History is absorbed and reflected by the walls around me. Resonating, past lives speak to me through the textural marks on the surfaces, as I carefully observe and transcribe. It is my duty to pass on their stories. Conjecture, interpretation or even embellishment, sometimes when a painting is bereft of human presence the piece speaks volumes about human lives and their struggles. The occasional human figure in a painting allows us to empathise on an emotional level with their predicament or surroundings, our imagination is thus engaged. Through my paintings I try to imbue some of the characteristics of each object/surface, while reflecting upon the scene in front of me. If I am partially successful I will have left the viewer with the impression of more than just textured surfaces, perhaps on the odd occasion familiar sounds and smells may be triggered. Maybe a memory of something or somewhere personal may be triggered by the image. Your participation and imagination, as viewer, is a vitally important component for the story to take flight.

Saatchi Disclaimer

2009-12-23T20:00:00.003Z

I received a phone call tonight from someone (C?) claiming to be from the Saatchi gallery with the claim that I was being outed as a particularly nasty character in the chatroom (Gouki?). I havent been on the Saatchi website for a considerable amount of time (12 to 18months) and my address etc has been posted in the chatroom. I am particularly annoyed as my reputation as an artist is clearly being undermined by a user called Z (I can supply the full name).

I cant get into the chatroom to verify this and I also tried to delete myself from the Saatchi website (with no luck) as i do not want to have any association with any part of this nonsense.

If anyone can help I would really appreciate it.
cheers

Queens Gallery show update

2009-09-30T15:27:00.006+01:00

I thought I would post some images of the exhibition for those who cant make the show for one reason or another. There are 36 pieces of which a sixth have sold so far. Not panicking yet, as there are number of people still to visit and a few mulling over a sale, so hopefully the bottom line will alter with time.

Over all I am fairly pleased with the way the pieces interact, and the general idea behind the show works quite well. There are plenty of opportunities to see the connections between quite a number of pieces. Whether these are all obvious on the first glance I'm not sure, but they are there so look closer. The drawings and sketches are there to support the work, but a number of people think they stand up on their own right. I just wouldn't feel completely comfortable about putting them on the wall as items in their own right but if buyers do, then fine.

I hope you can manage down to see the exhibition, as I think the work stand closer scrutiny. I shall let you be the judge.

Hanging of Queens Gallery show

2009-09-24T13:08:00.006+01:00

Example of the new framing.

Preparing the room.

Well its 2 days to go till my Queens Gallery show opens. Worried? Well perhaps more than normal. Not because the work lacks something. On the contrary, I am more than pleased with how the show is looking (although only at the initial hanging phase), and very pleased with the new framing. A very well done to Hugh Goring again.

Its just this economical climate that has put the chills up me! The work is very reasonably priced and I have made sure there is a huge range in sizes this time with the emphasis on slightly smaller and therefore more affordable. In this day and age its terrible that a compromise has to occur between work that will be comfortable to the viewer and therefore more saleable, and work that is more difficult to live with. Obviously the quality on show has to be up to standard, but the mere fact that an image may not appeal, actually enters into my thinking cant be a good thing. I most definitely try not to let it influence me, but it does nag away at the back of your head eating away at your decision making. All, is self doubt and natural.

If you can make it on saturday I will be more than pleased to see you. The work looks fine on the internet but getting up close and really scrutinising it is much more satisfying.

Wish me luck!

Insights

2009-09-18T10:01:00.002+01:00

Angus McEwan RSW ARWS
Insights

Private view- Saturday 26th September 11am -2pm
The exhibition continues until Saturday 17th October

The Queens Gallery,
160 Nethergate, Dundee DD1 4DU
Tel:01382 220600
Email: info@queensgallery.co.uk

Work is for sale on receipt of this invitation and can be viewed on and purchased from the website
http://www.queensgallery.co.uk/

Artist statement

When putting together an exhibition for the purposes of selling in a gallery, there are a few self imposed “rules” which I normally adhere to. Call it convention, if you will. Keeping apart a number of works which appear similar, because they have been developed around a subject or theme is one. Not showing preparatory sketches, drawings, collages, false dawns, blind alleys etc, would be another.

You, the viewer, are being offered the rare opportunity see where ideas take off and change direction as new possibilities reveal themselves to me. Working in this manner, ideas flow continuously and there is never enough time to explore every facet. Some good ideas are never pursued and some are when they shouldn’t be, but that’s what keeps things interesting. That is also why the drawing, sketch, Maquette, is an essential part of the working process of an artist.

By omitting certain pieces from an exhibition, the idea or thread contained within a body of work can sometimes be missed or miss construed. It was my intention to allow the viewer an intended “Insight” into some of my preparatory ideas, sketches, etc as support for the main paintings. It is hoped that a little bit of the “hidden” workings will be revealed in the process.

An interesting aside to showing these support works is the fact that they can be viewed for the first time as works in their own right. There is often energy and vitality within a sketch or drawing that can be missing from the more polished variety. It is the carefree rather than careless mark that can imbue liveliness and simplicity that may be sacrificed in the making of the larger studio paintings.

If nothing else hopefully you go away with a little bit more of an “Insight” into the process involved in creating a work of Art.

Queens show looming!

2009-08-26T19:48:00.005+01:00

" The stone speaks", watercolour,

" Vying for attention", watercolour

"Billbord altarpiece", Watercolour

Well my new show is almost ready. Do I know how it will look? In a word, No! I can only hope that it hangs together. The title of the show will be- "Insights". The basic premise of the show is to have a rare opportunity to see sketches, drawings, and collages alongside the finished item.

Some have more working drawings than others, some have none. Some are drawings in their own right and some are finished works without support material. I am hoping for around 35 pieces and rage from tiny to quite large for a watercolour (3' x 4').

As you can see the three paintings above all relate to each other. The first is my original idea for the billboard Maddona theme. The second explore the billboard as a collage of ripped poster then painted with watercolour. The last piece amalgamates the two elements together to create the large painting. Hopefully when hung together the theme of the show will work. Will it look ok? mmmm! your guess is as good as mines, ie I have no idea. I can only live in hope, again!!!

Who doesnt work from figures?

2009-07-17T16:52:00.006+01:00

Strike a pose, graphite on paper

Art to wear, colour pencil on paper

Dutch shawl, neocolour on paper

Most of you who know my work, know that I tend not to include figures that often. Primarily because it doesn't always fit in with the subject matter I'm dealing with. It doesn't however mean I don't like to work with the figure but it tends to be a separate thing altogether. Recently we had a day at college where the lecturers worked with the figure without students. It was an excellent and productive day and allowed us to gain a little insight into the pitfalls of being a student. After all it has been a long time for most of us.

Here are a few pieces from that day. The first piece took 10 minutes, working with two models using line. The second and third pieces were 30 minutes in length and allowed me an opportunity to develop the images a little further. The second piece was produced with coloured pencil and the third made use of watercolour crayons (neocolour) which I am really enjoying at the moment. Anywhoo, I teach life drawing a lot, so this keeps me on my toes!

Eh! I'm still alive!

2009-06-25T16:22:00.003+01:00

OK, Its been a while. I have been working quite hard actually, and just finished teaching on Tuesday for a while at least. Well the most significant piece of news, I believe, is my nomination to the Royal watercolour Society, London. So I am at the moment now an ARWS as well as an RSW (confused?). This will now involve me in being a lot more active in showing down in the Bankside Gallery, London.

I also met Prince Charles in Holyrood earlier this month in conjunction with the RSW. I managed to chat to him for a while about watercolour which was very insightful.

At the moment I am busy working towards my next show which will be in the Queens Gallery, Dundee on the 26th September 2009. The show will be entitled "Insights" and will include drawings, collages, sketches and finished pieces. I wanted to show some of my support work which normally never sees the light of day. Anywhoo, I will be back..........honest!

Curiosities Book

2008-10-28T21:37:00.003Z

A small piece in the press an Journal, Scotland

I have put the "Curiosities" Catalogue (A4 book) on eBay in the "buy now" category if anyone would like to purchase one they could use pay pal. It means if I have some in the studio it could be winging its way to you ASAP, if not it takes about 3 or 4 days for photobox to produce it and send to me. Either way its probably a more convenient way to purchase the catalogue.

Here is the URL for the eBay page:

http://cgi.ebay.co.uk/Angus-McEwan-Curiosities-Art-Book_W0QQitemZ130265412549QQcmdZViewItem?hash=item130265412549&_trkparms=72%3A1301%7C39%3A1%7C66%3A2%7C65%3A12%7C240%3A1318&_trksid=p3286.c0.m14

Drawing near

2008-10-05T21:55:00.006+01:00

...............the show in the Open Eye Gallery that is. I am still trying to finish the last and probably largest piece for the exhibition. I have less than a week, but I think it will be enough. Although I always seem to need a day or so more than I think, to complete a painting, so It could still be touch and go. Oh the excitement, or is that fear? I am not sure, perhaps both.

Fear that this credit crunch thingy will have drained the enthusiasm as well as the pockets of those who may have been interested in purchasing some of my latest work. On the plus side I have a lot of small paintings for sale. But, that has been niggling away at me as well. Will I have enough to fill the gallery without it looking avant garde. Will my nerve hold? mmmmm!

I have also produced a "catalogue" for the show. It is, perhaps, more of a little book (A4) than a traditional catalogue. I decided to go for the really nice looking but expensive option this time. The books are produced on line through photobox and cost roughly £20 each. I am going to sell them at cost to anyone who wants one. I just need the name and address of each person that is interested and I can produce them as and when I need to. It therefore gets rid of the, where do I stash my 500 catalogue, syndrome? It also looks pretty nice.

RSW

2008-09-05T17:00:00.003+01:00

"All roads lead to Rome", watercolour on paper, 2008

A few of you may have noticed the RSW after my name. It refers to the Royal Scottish Society of Painters in Watercolours. I was elected in 1995 and have been an active participant in the life of the society, elected twice to council (now on my second stint) and have helped to hang numerous annual exhibitions. I have also had the honour of being Exhibition convener twice (basically in charge of the hang in the gallery) and thoroughly recommend viewing our annual exhibition, (if you can), it is a lot less traditional than most watercolour societies.

The reason for the inclusion on the blog is that the RSW website has been updated and I thought you may be interested in having a look at it:

http://www.rsw.org.uk/index.php

2008-09-05T09:48:00.002+01:00

"Box of Curiosities", watercolour on paper, 2008

The theme behind my next one man show in the Open Eye centres around my collection of objects, which collectively, are what I would like to call "curiosities" . Here is the small blurb which is going to be used in conjunction with the work:

“Curiosities”
Angus McEwan RSW

Open Eye Gallery
2008

Over 300 years ago the foundation of Natural History as a science relied heavily on its partnership with art. Voyages of discovery were undertaken by scientists and artists in a symbiotic relationship to discover and collect “curiosities” of the natural world. This urge to travel and to discover has been a particular theme explored by many artists from many generations. The birth of photography and the development of scientific progress have changed the artist’s role from observer and recorder of the Natural world to that of opinionated commentator. Watching on the sidelines passively to proactively participating in and shaping society.

The role of the artist has been liberated from the bonds of representation and yet many like me find the greatest satisfaction in recording accurately and having an opinion. Perhaps, the best of both worlds.

I travel because I enjoy the “buzz” of discovering something new for myself. I don’t go to any place with a preconceived idea of what I will see or more importantly use. I try to let my natural curiosity guide me to whatever I find interesting at that particular point in time. I collect anything that appeals to me on my journeys and through time have amassed quite a number of curiosities of my own. These in conjunction with drawings, paintings and photography, have very often ended up as images which contain numerous elements of my journeys. Many of my paintings reflect my natural desire to record and observe, others reflect my opinions and points of view sometimes they contain both.

The paintings themselves through the creative process become curiosities in their own right.

New Door pics for Edinburgh

2008-08-27T13:27:00.006+01:00

Ancient Venetian door, watercolour on paper, 2008

As promissed the drip process of allowing you to see a few images from the October Edinburgh show continues.

Some of these pieces are so new they havent been framed yet, therefore the reason why there are no sizes next to the picture. The subject matter in a few of the pieces are still along the same theme of doors, windows, tromp l'oiel, but there may also be a few surprises thrown in (if I can finish them in time).

Long forgotten, watercolour on paper, 2008

Venice, Los Angeles and Rome are the inspiration for the new series. The image below (under siege) is so new I finished it last week. My work is so labour intensive that it can take quite a long time to do each piece, and I work on 5 or 6 at once to give me a variety. Even the smallest can take up to three full days (thats why I dont pay attention to how long the bigger pieces take otherwise I would check myself into a clinic to see why I do this to myself)! Anyway I hope you enjoy the work.

Under siege, watercolour on paper, 2008

2008-08-08T14:39:00.004+01:00

self portrait photo

Just came across "Brushspace". Another website for artists to showcase their work. I think the layout is quite nice and its very easy to use. I had a couple of glitches with downloading but apart from that it was a doddle. Thought I would share the website with you:

http://www.brushspace.com/

Another piece!

2008-08-05T13:10:00.003+01:00

"Illuminated window", watercolour on paper 2008

As i said a few days ago I would occasionally deliver a "sneak" view of some of the work going into the Open eye Gallery, Edinburgh in October. Well here is the next installment.

This painting is also a watercolour produced on the smooth Kahdi paper. I bought two pieces to try out. I loved the size and the irregular/deckled edge makes it look more like a scraping from a wall than a well executed modern offering. The paper, as I said on the last post was rather heavily sized for my liking, ( each layer would quite easily disturb the layer underneath making it difficult to produce smooth transitional layers) but i found a way around it.

The image itself will be of no great surprise to those who have been following my work. This piece is taken from my recent trip to Venice, Italy. I t shows a window slowly being revealed as the sun moves across the sky towards its zenith. Its the colour, texture, shapes and shadows that appeal to me in particular with this painting.

A wee sneak preview

2008-08-01T16:46:00.003+01:00

The Fading American dream, watercolour on paper, 64 x 77cm

Well I keep trying to keep up with this blogging effort but sadly real life keeps pulling me back.

I have been working fairly hard for my show on October 18Th 2008, at the Open Eye gallery, Edinburgh. I thought I would drip feed you with some pieces from the show.

This painting is rather personal to me. The title refers to my parents experience of living in the States for the past 24 years. In May this year my father died in California, leaving my mother and brother to continue living and working in Los Angeles. He will be sadly missed as any parent would be, his "new life" living in Californian has now faded and subsequently changed for my mother.

The painting itself shows a child's windmill, with its bright garish colours. On the right hand side is a billboard with faded posters, some relating to the era of by gone days when going to the Americas was preferential for many families from Scotland during the Highland clearances.

There isn't any collage on this piece, its all painted on smooth Kadhi watercolour paper (over sized a little, which made it difficult to work with) with sennelier and old Holland watercolours.

Le Quattro Stagioni Di Vivaldi

2008-06-26T17:57:00.006+01:00

Vivaldi's Four Seasons

While in Venice last month I attended a concert of Vivaldi's four seasons. The musicians were in period costume and although I went as a reluctant observer, I thoroughly enjoyed the experience. The setting was also very interesting, the main hall of the Scuola Grande Di San Teodoro designed by Baldassarre Longhena. I primarily went along to draw and found myself swept along by the energy and excitement generated by the Venetian vituoso's. The faster they played the faster I drew, when the music was quieter and slower I drew accordingly.I did about 9 sketches whilst they played, catching the movement of each musician as they played wasn't easy and therefore each sketch is a summation of a period in time rather than a frozen moment like a photograph. Here is a small selection from the concert.

Sheepish

2008-05-25T21:12:00.004+01:00

OK! Firstly I am still alive.

Just a little side tracked by the complexities of life. Since the last post I've been to LA again to see my folks and took 20 students to Venice on a painting trip which was excellent.

I have been trying to amass a pile of work for my solo show in September at the Open Eye Gallery in Edinburgh. In the meantime there have been more than a few group shows which have swallowed up a lot of time and work.

The annual RSW (Royal Scottish Society for Painters in Watercolours) show in the Mound, Edinburgh is something I try not to miss, and as a result put a couple of new pieces in, one of which sold (oh on!).

The Carpenter, watercolour on Paper, 95.5 x 75.5cm

Funnily enough both pieces have a religious theme, not that I am particularly religious in any shape or form, but somehow its creeping into my work.

"...and the word was lost", watercolour on paper, 39 x 38cm

The painting above, the ripped poster, is a subject I am exploring fully at the moment. The use of lettering and graphic imagery is also starting to show face. There is much more to come. I promise not to let you wait so long the next time.

Wee ones

2007-11-29T12:39:00.000Z

Hi,

this time of year appears to be swamped by the need for wee pictures (most are largely unframed, and thus cheaper). Since I came back from LA I haven't framed one piece yet, although I have finished about 15 little ones and I'm also working on about 4 large pieces at the same time(multi-tasking me?). I thought I would share some of them with you and where they can be seen in the flesh so to speak.

Open Eye, Edinburgh

http://www.openeyegallery.co.uk/Open+Eye/future/

Open Door, La, 21 x 14.5cm watercolour

Crumbling around, 21 x 14.5cm, watercolour

Long shadows, Rome, 21 x14.5cm

Pier Lock, LA, 21 x 14.5cm, watercolour

There are another 6 pieces at the show in Edinburgh. If anyone is interested I can post more or send the images directly to you. The wee ones are a good way for me to explore ideas for larger pieces, so although they are in a way studies for larger pieces, I don't compromise on quality.

Queens Gallery, Dundee

http://www.queensgallery.co.uk/exhibitions_main.html

Past its best, 21 x 14.5cm, watercolour

Sign of the times, 21 x 14.5cm, watercolour

RGI Xmas show, Kelly Gallery, Glasgow

Gift from Rome, 14 x 15.3cm, watercolour & Gold leaf

Catch up

2007-11-02T13:17:00.000Z

Ok. Every now and again I go Awol. So here's the excuses!

I went to Rome recently (October break) to gather research material for my next show. It will be a combination of work from LA, Rome and Scotland. I have loads of ideas, just need to sort them out logically in my head, so it doesnt look too much of a hotch-potch. The exhibition will be in the Open Eye Gallery, Edinburgh next October. I havent been to Rome for 20 years and it was so much better than I remembered. I walked myself to death but covered most of the city many times over. I produced a fair amount of sketches, ideas, photos and still life material to last me quite a while. Rome really makes you think, the history of western civilisation unfolds before your eyes, all it requires is a little imagination.

More from London

2007-09-16T12:19:00.000+01:00

Small study for "Permanently Temporary", unframed £280

Well I spent the last few days in London attending the prize award ceremony for the Kaupthing Singer & Friedlander/ Sunday Times watercolour competition on the Tuesday and was awarded my cheque by Mariella Frostrup. You could certainly tell who the artists were amongst the many bank employees and friends. I enjoyed the evening and met all the artists who of course turned out to be all very nice people. Gordon McDowall I already knew which helped me (I am not always entirely comfortable in certain social occasions on my own) and got to know Julia Farrer (1st prize) and Wladyslaw Mireki (3rd prize winner) and his wife through the course of the evening. Everyone of course was complimentary which all helped to make the evening special. The food & drinks were in copious amounts, which I tried not to over indulge in.

I spent the Wednesday visiting a number of private galleries across London and getting a feel for the style and content of each place which proved very enlightening. Wednesday night, well what can I say, I found a pub (3 Kings) which was showing all the International football matches on that night. The pub was filled with every European nationality going, including a fairly large and raucous group of Scots. In the 67 minute the place exploded with noise. Needless to say I am still a little hoarse. Final score, Scotland 1 France 0, as if you didn't know.

Thursday I went to the Tate Britain and took a boat ride to Tate Modern, which would have been great if I hadn't fallen asleep, ach well. I was pleasantly surprised by some of the work on show at Tate Modern, as on the whole, it was quite accessible and less obscure/obtuse than some modern art tries to be. Thursday night was the artist opening at the Mall galleries for the Kaupthing Singer & Friedlander/ Sunday Times watercolour competition, this was an entirely different affair to the Tuesday presentation. It was less formal and we artists dissolved into the crowd quite easily. The night for me was topped off by selling my painting which just made a great night even better. I then went for a meal with Julia Farrer and her sister and friends which rounded off a perfect few days in London.

The less said about my cell of a hotel room the better!!

I also thought I would let you know about an interview with Peter Blake (Artist and Judge) by Frank Whittford (Journalist/writer and Judge) talking about the prize winners which is very illuminating.
You can find the interview here: or click on an interview with Peter Blake
http://www.timesonline.co.uk/tol/audio_video/times_online_tv/?channel=Arts%20and%20Entertainment&clipid=1152_timesonline0267

The result!!! - Kaupthing Singer & Friedlander / Sunday Times watercolour competition

2007-08-26T14:27:00.000+01:00

Extract taken from the Sunday Times, written by Frank Whitford. Full transcription can be found here;

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article2315002.ece

Of course you should go and buy the Sunday times as it has all the prize winners in full colour.

In its 20th year, the contest has put on new clothes. It’s now called the Kaupthing Singer & Friedlander/Sunday Times watercolour competition, incorporating the name of the Icelandic bank that is now in charge.

Nothing else has changed, apart from the name of one of the judges. This year, they were: Professor Brian Allen, director of studies at the Paul Mellon Centre (chairman); Sir Peter Blake, artist; Carol Robertson, artist and former prizewinner; Dr Joanna Selborne, curator of prints and drawings at the Courtauld Institute of Art Gallery; and Frank Whitford of The Sunday Times.
The award presentation will take place on Tuesday, September 11, with the broadcaster Mariella Frostrup as the guest of honour.

Second prize, £7,000

Angus McEwan, Permanently Temporary

When I mentioned to Angus McEwan, a Scot who lives near Dundee, that his painting had several of the qualities associated with an abstract composition, he immediately agreed. “I’d go further,” he added. “I think there’s an abstract core to every good painting.” Yet McEwan’s picture is also an exercise in almost photographically sharp realism. The surface and texture of every part of this ramshackle structure of wood and metal and mesh is rendered with a persistence and an attention to detail that make every part of it seem solid and tangible.

“I like painting wood and rough surfaces,” McEwan says, “and I loved the colours and haphazard arrangements of the materials here. The structure is actually in Marrakesh, right in the heart of the tannery. The gut-wrenching smell alone would make you run a mile, but someone has found a patch of dirt in which to take up residence. So this is part of a dwelling, just thrown up without any thought about permanence or the way it looks. Yet the arbitrary nature and placement of the boards, corrugated iron and doors has created a harmony and aesthetic all of its own. There’s a beauty that’s purely accidental, and it’s that beauty I wanted to preserve, clearly distinguishing between the texture of each of the different surfaces to preserve the identity of each part.”

The painting wasn’t made on the spot in Morocco, but in the studio, with the help of sketchbook drawings. McEwan also surrounded himself with similar materials. “The trick is to work in the studio while preserving a sense of that freshness that made the subject seem exciting in the first place,” he says. He likes to experiment, using resists above all.

McEwan is a member of the Royal Scottish Society of Painters in Watercolour and teaches at Dundee College. He has submitted work to the competition for the past two years, and last year his entry was in the exhibition. He learnt that he had won a prize (though not which one: this report is the first news of it) while in California, by looking at the competition website. Though he was on holiday in LA, he was also doing preparatory work for a show at Edinburgh’s Open Eye gallery next year.

1st Prize;

Julia Farrer

2nd Prize:

Angus McEwan RSW

3rd Prize:

Jennifer McRae

3rd Prize;

Gordon McDowall

3rd Prize:

Wladyslaw Mireki

3rd Prize:

David Prentice

To say I am chuffed to bits is an understatement. I had convinced myself that it would be a 3rd prize, so I was genuinely delighted to find out otherwise. Now to look forward to the opening on the 11th & 13th of September 2007.

International artist

2007-08-24T10:49:00.000+01:00

The Lantern Maker of Marrakesh, watercolour on paper

Another piece of good news came in the post last week in the shape of a 'Finalist award' from the art magazine International artist. To my eternal shame I looked through the magazine when I came back from the States and never noticed the reproduction of my painting (above). It wasn't until the certificate came through the door last Saturday that I became aware of the honour, oops!

The International artist magazine run competitions in every bi monthly issue. I put something in occasionally if the subject matter suits ( they change the subject of the competition regularly), or indeed if I feel I have something worthy to show. They award 1st, 2ND, 3rd prizes and 10 finalist awards. This is my 4Th finalist award and I am determined to achieve one of the top 3 awards eventually (ever hopeful).

The 'Art prize challenge no 40, subject; Favourite Subject' was published in Issue 56, August/September 2007, and you can find them here:

http://www.international-artist.com/default.aspx

Short listed for the Kaupthing Singer and Friedlander / Sunday Times watercolour Exhibiition

2007-08-17T11:29:00.000+01:00

Permanently Temporary, watercolour on paper, 2007

Here is the exciting news I promised a few days ago. During my trip to the states I was informed that I had been short listed for the Kaupthing Singer & Friedlander / Sunday times watercolour Exhibition. The award winners will be announced on the Sunday the 26th 0f August in the Sunday Times (London). This is the largest watercolour competition in Britain so to be selected is an honour, but to be short listed for a prize is beyond belief. The painting (illustrated above) was painted in Marrakesh and you can find more information about it here;

http://www.angusmcewan.com/index_files/Page4571.htm

2007 Prize Winners

The following artists have been short listed for the six prizes on offer in the 2007 exhibition:

Julia Farrer
Gordon McDowall
Angus McEwan RSW
Jennifer McRae
Wladyslaw Mirecki
David Prentice

The six prizes are:
1st Prize
£15,000
2nd Prize
£7,000
4 further prizes of
£2,000

Exhibition History
Kaupthing Singer &Friedlander Group PLC and the Sunday Times started the competition in 1988, to encourage the use of watercolour and water based media painting among both amateur and professional artists. Along with this aim, the sponsors also wanted to reward drawing ability and skill demonstrated in the use of these media.
Now in its twentieth year, the competition continues to support and encourage diversity and each year the distinguished panel of judges look to select works that embrace this distinctive medium.
The 2006 competition attracted just under 1200 works from which 181 were selected for exhibition

Exhibition & Tour Dates

The Mall Galleries, London, 12 - 22 September 2007
Following the London exhibition the show will tour to Manchester:
Sculpture Hall, Manchester Town Hall, 9 - 20 October 2007

Selectors
The judges will be looking for work which makes the most imaginative or otherwise impressive use of a water based medium. The judges' decision will be final and binding. No correspondence will be entered into.
The 2007 judges will include:
Brian Allen - Director of Studies at the Paul Mellon Institute
Peter Blake RA - Artist
Carol Robertson - Artist
Dr Joanna Selborne - Curator Prints & Drawings, Cortauld Institute of Art
Dr Frank Whitford - Art Critic for The Sunday Times

Sponsors
Kaupthing Bank acquired Singer & Friedlander Group Plc in July 2005. Kaupthing Bank is a Nordic bank with headquarters in Reykjavik, Iceland. The acquisition of S&F represented a strategic move in Kaupthing's efforts to establish a presence in the British financial market. Kaupthing Bank are delighted to be supporting the Singer & Friedlander/Sunday Times Watercolour Competition.

Kaupthing Singer and Friedlander / Sunday Times Watercolour Exhibition, Wed 12-Sep-2007 to Sat 22-Sep-2007Now celebrating twenty years of this exhibition discovering the diversity and beauty of the frequently undervalued medium of watercolour. Abstract, figurative and landscape pieces in any water soluble medium are celebrated in this exhibition taken from a nationwide competition. Admission free

Website

2007-08-13T17:44:00.000+01:00

'On the brink', watercolour on paper 2007

My website

http://www.angusmcewan.com/

has, after many years, been updated. Absolutely shocking stuff, but its taken me a long time to sit down and update the site. Not sure, but it seems a little slow do download, maybe you could let me know. I think it just needs the cookies downloaded and it will appear a wee bit faster, but what do I know?

Also there is some exciting news, but I wont let the cat out of the bag yet. Come back in a couple of days and I shall let you know whats going on in the land of haggis and neaps!

Back from LA!!

2007-08-06T18:04:00.000+01:00

HI,
well I've been away for the month of July and today marks the first day in my studio since the beginning of June. I haven't taken this amount of time away from my work since I graduated some 20 years ago. I have always felt that it would be difficult to get back into the swing of things if I didn't work almost every day. Well I was correct, I spent quite a bit of time pottering around, tidying up and shifting bits of paper around. Finally I settled down to paint but was increasingly distracted by random thoughts which meant i kept flitting back to the sketchbook and researching material on the Internet. It was a process which I believe was unavoidable as I began to settle into the creative process. I am starting to formulate a plan of action for the next few paintings /shows. Nothing settled yet and its all so fluid and flexible.
You may be wondering what has taken me away from my work. Well I was in Los Angeles visiting my parents with the family. I decided to think about how I could incorporate some of the things I saw and collected into my work. A lot of looking, thinking, sketching, nothing resolved, only a series of ideas, but plenty of potential. Only problem is that the subject matter is totally different from some of my other work. That causes the doubt which slows up the creative process, but it is something I have to come to terms with.
I just hope that I do it all justice.

YOUR GALLERY ARTISTS WEEKLY VIDEO - Saatchi Gallery Website

2007-06-05T16:20:00.000+01:00

'Chinese Graffiti', watercolour on paper, 1996

I have been a member of the Saatchi Gallery website for some time and recently was approached to take part in a video "magazine" by the creator Roxanne Brousseau-Felio. She has produced three of these magazine articles, this being the third. There is the magazine video and on her website a small interview with each artist. The paintings highlighted on the video were chosen by Roxanne and quite possibly a lot of people will not have seen them before.

http://www.spreadart.net/

I thoroughly recommend you take a visit to her website and check out the Saatchi site as well. There are a lots of artists out there and standing out these days is difficult to do without doing something ridiculously outrageous to catch the public's attention. The methods employed by Roxanne are much more inventive, creative and dare I say it, subtle in the way she has chosen to showcase the work of other artists. The videos are Roxanne's creative outlet.

http://www.saatchi-gallery.co.uk/blogon/mtvideobox.php?video_id=76

The 10 artists who feature in this week's Your Gallery video by Roxanne Brousseau-Felio have been chosen from more than 45,000 international contemporary artists from the Saatchi Gallery's Your Gallery site. This week's artists come from Malta, England, Argentina, Canada, Germany, US, Scotland and Switzerland. Brousseau-Felio has also created a personal webpage highlighting the works selected with more personal details on SpreadArt.net. The artists featured this week are (in order of appearance on video clip): Patrick Willett from Buffalo, New York, US. Patricia Sea from Bayern, Germany. Shana Kohnstamm from Nashville, Tennessee, US. Richard Sweeney from Huddersfield, England. Jane Ackroyd from London, England. Anthony Caruana from Xaghra-Gozo, Malta. Angus McEwan from Dundee, Scotland. Andrea Barrera Mathus from Mendoza, Argentina. Susi Staub Ernst from Zurich, Switzerland. Bill Hoopes from Bowen Island, Canada. Roxanne Brousseau-Felio is also an artist registered on Your Gallery.

"Leading masters of Contemporary Realism"

2007-05-18T19:04:00.000+01:00

'Key to the West', watercolour on paper

I have been a member of the International Guild of Realism for a couple of years now, but due to other commitments haven't had the opportunity to exhibit with them. That is until now, I recently had a piece accepted for the "Leading Masters in Contemporary Realism" show, which will be held in the Winstanely-Roark Fine Arts Gallery, Cape Cod, Massachusetts, USA.

Detail

The Painting "Key to the West" is a watercolour and depicts the side of a rail carriage including metal sign and a key which I picked up in California on my last visit to the States. The subject matter is pretty simple as is the image, but I find when working on a small scale simple is best.

The gallery website;

www.masterfulart.com

The show opens on 24th July through to August 5th 2007.

My next problem appears to be getting the painting there in one piece and within the realms of a realistic price. So far the most outrageous price is £380 for a pretty small painting and that doesn't include dealing with customs or tax, and they are using FedEx. Seems the only thing they will do is make the small crate, mmmmmm!

I have other options to explore. Now if anyone has had experience in doing this, please let me know.

Queens Gallery show 2007

2007-04-22T19:56:00.000+01:00

Queens Gallery Exhibition 2007

Well that's another show over with. It had an excellent start with lots of sales pre-opening which tailed off dramatically over the duration of the show. According to the Gallery the paintings were well received and those that are left have been earmarked for other adventures. I do enjoy showing there and believe the gallery owners are very genuine, enthusiastic art lovers. Here are a few images from the show in case you didn't make it!!

New Paintings - Queens show

2007-03-23T13:37:00.000Z

Moroccan Dream, Watercolour/mixed media, 2007

Well folks,

this is just a wee note to let you know about the opening of My work at the Queens Gallery show, Dundee on Saturday the 31st of March 2007, from 2pm.

I am exhibiting 21 paintings from large to very small and two thirds of the show has never been seen before (some of it is still in the framers as I write).

The paintings draw inspiration from Morocco and Italy (Florence, Lucca, Sienna) and are mostly in watercolour although there are a few acrylics as well.

I hope I can have the opportunity to catch up with you on saturday 31st, if not please feel free to visit when you can. The show is on until Saturday the 21st of April 2007.

Queens Gallery, Nethergate, Dundee DD1 4DU
Tel 01382 220600
www queensgallery.co.uk

Subject revisited

2007-03-14T13:07:00.000Z

' Ancient Sun', watercolour on paper, 2007

I have painted a few images where I felt that further investigation around the subject was merited. This doesn't happen very frequently, as I try to find the 'ultimate' image/composition on the first time of asking.

Occasionally though another view point, whether close up, further back, or other combinations of objects, different sizes of paper or different materials will breathe new live into an old idea. I was always told at art school that an artist will only have three good ideas and you will repeat them over and over. I do have to admit to sometimes seeing new ways to interpret and old idea, but I am careful not to overdo this tendency.

'Ancient sun', was first introduced as a small watercolour called inner sanctum. I liked the image so much that I decided to do a larger version but with a different composition.

'Inner Sanctum', watercolour 5 x 7 inches

This was then recreated as 'Fisherman's sanctuary', a larger watercolour with other details added such as ancient symbolism from the North Africa area. A Christian symbol was also added.

'Fisherman's Sanctuary', watercolour on paper

This was then explored by 'stepping back from the detail of the door to the door in context with its surrounding arch and 'melting' walls. The texture of the stone was the main challenge and I enjoyed trying a variety of ways to describe the surface of the stone.

close up of 'Ancient Sun'

New Additions

2007-03-02T13:45:00.000Z

Hi, I've been a wee bit busy recently hence the fact that there has been no activity for a while. I just spent the last couple of days hanging the RSW exhibition in Edinburgh and now await the phone call asking to change things around. I'm keeping my fingers crossed that all will be OK.

Lock Down

I thought I should post a couple of new pieces, which will be hung in the up and coming Queens Gallery show in Dundee.

The painting, 'Lock down' is a close up of a lock from Italy. It is fairly large and I decided to use paper which has an irregular edge to it. I have shown the painting here at a variety of stages to give you an idea of the length of time and the amount of stages it must go through before it is complete.

I use watercolour by applying layers of pure colour one on top of the other, this is called optical mixing and hinges on the artists ability to predict the final result. It allows the painting to stay fresh even though there might be quite a few layers of colour down.

Since there are a number of layers of colour applied throughout the process, the painting goes through a number of colour stages to reach its final destination. This can be seen here in these examples when it goes from pale red to orange, then crimson to finally a rich warm red.

'Lock down', watercolour on paper, 76 x 56.5 cm (sight size)

Detail

2007-02-10T17:58:00.000Z

'Standing Firm', Watercolour on paper, Feb 2007

This painting started life as a demonstration for the Stirling art society. I have a particularly unique technique to building up surface texture and I decided to show the good folk of Stirling. Unfortunately it is only a small part of the painting process and as such they were given a little insight, all be it an important one.

'Standing firm', is in fact a closeup of a door which I have painted a few times and can be seen here;

'Chameleon Door', watercolour on paper, 2006

The painting 'Chameleon Door' has been admired by a few people and I personally enjoyed the colours and textures, and believed a close up of the bolt/lock would offer a different point of view of the same subject.

close up of 'Standing Firm'

'Standing firm' also has a map of the souks of Marrakesh outlined in gold acrylic and can be seen occasionally if the light reflects off of the surface at the correct angle. It has the effect of being like a gold vein running through the wood, but its not obvious at the first glance, its only revealed through time.

Order and chaos

2007-01-26T13:35:00.000Z

'Quiet order', watercolour on paper, 2007 approx 120 x 100cm

'Quiet order', as some of you may have noticed, is very similar to a small piece completed before Christmas entitled 'View from San Marco'. I really liked the balance of the quiet black set against the window and thought it displayed some of the characteristics of the monastery at San Marco, Florence.

'Quiet order', detail of window

The calm cool interior which has pretty much remained unchanged for centuries is juxtaposed with the view looking out on to a changing landscape which is reflected in the ancient warped glass. The glass has made the structures outside look as if they are made from melted cheese. Order and chaos, interior and exterior, old and new, are all suggested within this deceptively simple composition. The window, especially the drapes took an inordinate amount of time, but the effect was worth the trouble.

I hope you enjoy it.

update

2007-01-17T12:43:00.000Z

Castles made of sand, wee watercolour on paper, 2007

Here are a couple of wee paintings, earmarked for the Queens show, which opens on the 31st of March. I have just realised how little time I have and a slight wave of panic hit me while I was pushing around some paper in the studio. No more time for procrastination, I have 8 pieces lying around the studio from 3/4 finished, down to some little more than sketches, but, they all require immediate attention.

'Castles made of sand' (above) is named after a jimmy Hendrix song of the same name, which, (allegedly) was inspired by a trip to Essaouira in Morocco. The battlements and the town wall, which can be clearly seen in the painting, are not the same ones Hendrix refers to in his song. That is further south of the old town.

'Rickety blue', wee watercolour on paper

The eagle eyed amongst you will have notice the ragged edge around the watercolour. I have used the irregular edged paper for a little while and I like it. It reminds me of a piece of fresco which has been removed from a wall. It helps add to the textural qualities of the surface. 'Rickety blue' as a painting of an old door in Luca, Italy.

New focus

2006-12-21T12:32:00.000Z

Well I am now officially working towards another small solo show in the Queens Gallery in Dundee, the only problem for me is that its very soon!!!

Soon, as in, I still have to do the work and the opening is March 31st 2007.

I know that seems quite far away but believe me its not. There are also other shows, in other Galleries, looking for new work during that time, so, suffice to say, I am now back on the merry go round that is painting for exhibitions (not that I got off, just slowed it down a little).

I may be able to cheat a little and add a couple of pieces from the 'Furthest West' show, but, the majority will be new work and the theme will be more open and not quite so restrictive.

I shall keep you abreast of the new work as it develops, posting a few teasers as I do them. Maybe even a few works in progress!!

Here's one to get started with;

'Urban Palm tree', watercolour on paper

This is an image of a ripped poster in Sienna, Italy, (which has not been doctored by me in any way to make it look more like a palm tree). I just loved the fact that it reminded me of a palm tree and that it is purely down to luck and of course my observational skills to notice it in the first place.

I happened to be with another artist who looked down the street at the precise moment I first observed this and he announced 'now that's what I like to paint' and I looked at the wall and thought 'no, that's much more interesting to me'.

'Be true to yourself'

Queens Gallery christmas show

2006-11-29T16:11:00.000Z

'Protective', 6"x8", watercolour on paper

I have some work on display in the Queens Gallery Christmas show (Dundee), of which two are wee postcard sized works. The postcard sized format is proving very popular for Christmas or charity shows. It makes it affordable to purchase 'named artists' for a fraction of their 'normal' value, plus there is never the issue of not having enough space to hang the little gem. Both sold at the opening.

'Contemplation', 6"x8", watercolour on paper

postcards

2006-11-18T12:14:00.000Z

'Chameleon door 2', watercolour on card

As part of the Christmas exhibition at the Open Eye, there is a separate room filled with postcard sized paintings (approx 6" x 8") from all their Gallery artists. I have decided to show mine here in advance (sneak preview).

'Forgotten Treasure', watercolour on card

Most of the images are still based around the Moroccan theme, but 'View from San Marco, Florence' is a piece I have been wanting to do for some time. I went to Florence with the students in May of this year (2006) and had the odd opportunity to do a few scribbles.

'View from San Marco, Florence', watercolour on card

This is an idea which I carried around in my head for some time and it is really the first chance to produce something from the trip. I will be trying a larger variation of this theme very soon, to be earmarked for the Queens Gallery show April 2007.

'Grand Entrance', watercolour on card

Exhibitions

2006-11-16T13:22:00.000Z

calm Reflection' , Acrylic on Canvas

Open Eye Gallery, Edinburgh

I am exhibiting 4 new paintings in the 'Objects of Desire' exhibition along with John Bellany, George Donald, Henry Fraser, Roberto Gonzalez Fernandez, Benjamin Jones, Jack Knox, Barry McGlashan, Geoffrey Roper, Ann Ross and Margaret Smyth. The invited artists have been asked to produce 4 works on any theme or size, but, all 4 pieces have to be the same size. I have plumped for 4 wee canvasses, which will be around 38cm square once framed.

'Fish Box', Acrylic on Canvas

what's nice about this exhibition for me is the fact that I can now broaden my subject matter to include other things again. There is a slight feeling of being hemmed in when you limit yourself, as I did, for my Morocco show. Not that I didn't enjoy working on the exhibition, only its nice to be able to hop from one idea to another without worrying if the end result fits in.

'Arabian nights', Acrylic on Canvas

'Missing Pieces', Acrylic on canvas

The dust has settled

2006-11-01T13:21:00.000Z

The dust settles!

Hi, sorry for the hiatus but I have been incredibly busy over the past few weeks. Unfortunately not always art related, but, always time consuming.

"This is the hurry up and take the photo pose"

Just to round off the Moroccan show in the Open Eye Gallery, I decided to post a few images of my paintings in situ. Especially for those unable to visit Edinburgh while it was on.

"Inside the main room"

The sales were pretty good without being spectacular, with half the show selling and the Gallery hanging on to 6 more for future exhibitions. Nine made the long track back with me the store room. Most of the small to medium sized pieces sold, perhaps there is a lesson to be learned from this experience.

The photographs give you an idea of the scale of some of the paintings, the catalogue, although very nice, never really conveys how large or small some of these pieces are.

"Towards the other window"

As always there are some paintings which don't sell and I cant quite figure out why, maybe its size or the price, the subject matter or perhaps the right person hasn't seen it yet. Whatever the reason it only confirms to me that I cant predict with any degree of certainty what will be a hit and what wont. All I can continue to do is to make paintings to the best of my ability and remain true to myself regardless of trends. I am open to constructive crticism but I never take it with blind faith, I always question it!

Now is the time to analyze the successes and the failures of the show.

"In the Entrance hall"

2006-10-03T13:14:00.000+01:00

"Entrance to the Souks", Watercolour on paper

I just wanted to let you know that there is a small review of my show "Farthest West", Open Eye Gallery, Edinburgh, in Today's (3rd October 2006) Scotsman.

The Review is written by Duncan Macmillan and I am very pleased with his overall summation of the work and the show. As a gallery owner said to me recently, any review of visual arts today has to be welcomed and I am extremely gratified that he enjoyed the work on display. Here is the extract if you cant get a copy (which also includes an image from my show, as seen above);

'At the Open Eye, Angus McEwan celebrates the power of paint to describe. He uses watercolour with exquisite delicacy to create an almost hallucinatory sense of reality of an object or scene. These are all pictures of Morocco and he revels in the exotic light and colour of the place, but is best on a small scale where there are no obvious pointers to the associations of his subject matter.

He paints a window opening into a dark space that could be anywhere, or the detail of a battered door with peeling paint. There is delight to be found in this kind of observation, poetry too, and not just admiration for his skill.'

The show was given 4/5 star rating.

I hope if you haven't already visited the show that you can make it through to Edinburgh at some point and I would welcome your thoughts on the work.

2006-10-02T12:48:00.000+01:00

"Saturation Point", Watercolour on Paper

Well, the post "Opening" Blues have set in.

I think mainly because the "opening" is such a high point, which the previous 6 months have been building up to, that, there can only be one direction after that. Luckily, I still have lots of work sitting around waiting to be completed. The last thing I need right now is contemplation, that will come in the next few weeks, once I've reviewed the relative successes and failures of the show. Onwards and upwards.

The "Opening" was fairly successful with just over a third sold within the first 3 hours. Mainly the medium to small works with a couple of larger pieces, being the main targets. I had good feedback from everyone I spoke to, and it helped confirm to me that the newer works were accepted and are worth while pursuing. Something I am keen to do.

Last Offering

2006-09-29T13:48:00.000+01:00

"Dusk at Place Jemma el-Fna", Acrylic/collage/mixed media on canvas

Here is the final offering for my show in the Open Eye Gallery, Edinburgh. I just finished it on Wednesday after virtually obliterating it on Sunday, when it wasn't working the way I wanted it to. I took a thick wash of brown acrylic paint and completely covered the canvas. Frantically working away to recover the image I retrieved enough to work with. I can now "destroy" work with the confidence that I can get it back, and it will be twice as good as before the sabotage. It finally proved to be the case with this piece. What worried me though was my timing. I didn't have long to pull this one out of the bag, miraculously (and I use this loosely) I managed to do it with time enough to spare to wrap all my other pieces.

So now I wait nervously for the opening on Saturday. Keeping the fingers crossed. See you on the other side!

2006-09-22T13:18:00.000+01:00

"Dawn breaks in the Marjorelle gardens", Acrylic/Collage on Canvas

Well one week to go until the opening. Most people who have seen the catalogue have liked what they have seen. My only hope is that when they see the originals they live up to expectation. I have to say when I picked up a few pieces from the framers I was pleasantly surprised and felt a little more confident about a positive response. When you work alone without any input, positive or negative, you can easily go off the rails without realizing it, so an opening takes on a more significant dent to the ego if the response isn't mildly positive. All very stressful. All I can say is be gentle please!!!

The painting above is a larger work on canvas which employs the collage/Acrylic technique. I have also plumped for a fairly simple image. One which should help square a few circles. It connects the dakak/Watercolour piece with the newer Acrylic works.

Only one piece left to finish. Off I pop!

Catalogue

2006-09-14T17:20:00.000+01:00

"Fisherman's Sanctuary", Watercolour

This is the front cover of my Catalogue for the Open eye show (above).

I feel the pressure building as I frantically try to finish and start some new work (I must be mad). I am picking up the catalogue tomorrow, so heres hoping its as half as good as it is in my head (impossible I know). If anyone would like a copy give me a bell and I shall see what I can do. I will be sending out a few to regular buyers.

The Farthest West - al-Maghreb al-Aqsa

2006-09-06T12:52:00.000+01:00

"Farthest West", Acrylic, collage on canvas, 2006

Firstly an apology for the lack of activity on here but between my accounts, starting lecturing again and my show I have barely had enough time to sleep.

My show which will open in 3 weeks time in Edinburgh at the Open eye Gallery has now had the title confirmed as "Farthest West -al-Maghreb al-Aqsa". This is what morocco is more commonly known as in the Islamic world, since it is the farthest West from Mecca (the centre of Islam?). I liked the fact that we would regard Morocco as the near East, but not to the rest of Islam. I guess its all relative.

The show is slowly taking shape and I am desperately trying to finish two largish paintings which should hopefully tie up one or two loose ends. The painting above is a combination of collage worked on top with acrylic and employs a depth change from the left to the right. The 3 keys are part of my collection and have cropped up in a few pieces recently. I am fairly happy with this one, so here's hoping the public like it.

2006-08-18T13:16:00.000+01:00

Little Icon, Acrylic on paper and board,65 x 52cm

"Little Icon" is another piece in the acrylic series. Lots of texture with a painting of a "perfume" bottle painted in a realistic manner. I have really enjoyed these paintings, mainly because I am not sure of the outcome or the reaction (worry, worry!). I am in the middle of putting together the catalogue for my show in the Open Eye Gallery, Edinburgh and the new pieces will be represented by the "Key to Africa". Here is a detail of the "Little Icon".

"Little Icon " Detail

New painting!

2006-08-11T13:47:00.000+01:00

Key to Africa, Acrylic on paper and board, 2006

I have been working extensively with watercolour for about five years now. Fairly recently I was asked to produce some pieces for my show in the Open Eye Gallery which could go in their windows. Not wanting to put watercolours under strong light I decided to do a few acrylic. This prompted me to think again about process and subject matter and how I could utilize the benefits afforded to me through using this durable medium.

The results have so far been pretty interesting, although how they will sit with the rest of my show I am not sure. How the Gallery and buyers view these pieces will also be very interesting.

Here is the first piece now completed. The key in the centre is an item bartered for in the souks of Marrakech. If you like let me know what you think.

2006-08-04T13:51:00.000+01:00

" The Dakak - the one who knocks", Watercolour on paper

I collect and purchase as many objects as I can when I am on my travels. These are then worked into still life's and can add a touch of authenticity and inspiration when developing my ideas.

I was in Morocco during Ramadan and having never observed this before, read a little about it.

I came across the book 'Behind Moroccan Walls' by Henrietta Celarie (first published 1931), and came across this description.

"At Fez the believer charged with waking the woman is called the Dakak". "one who Knocks". "The position of Dakak is hereditary", "He receives a small sum as remuneration from the Habous and each inhabitant contributes toward paying the dakak of his quarter by handing over fifty centimes with seventeen measures of wheat"

Just finished

2006-07-28T13:17:00.000+01:00

"The Taleb's jinn", Watercolour on paper

This painting was completed yesterday and represents a wee bit of a struggle, but I think it was ultimately worth it.

A Taleb is a student of the magic arts. "Moroccans seem very suggestible to occult practices, genies and the like." 'The plurals "jinn"'. They're taken seriously:even intellectuals look over their shoulders in case a genie is following.

(taken from- "The city in the 1960s" by Anthony Gladstone-Thompson)

The lamp is a contemporary creation, but I like the juxtaposition of the modern object with ancient symbolism.

Blast from the Past

2006-07-20T13:45:00.000+01:00

"All things are numbers", watercolour on paper

I decided that I will occassionally show you some of my past work. Sometimes my painting has sold before anyone has had a chance to see it. Although the primary aim is to sell, it is always nice to be able to share your vision and hard work with others.The photograph below (sorry about the apendage(me) next to it, but it gives you a nice sense of scale) was the last time the painting was viewed in public.

RSA, Edinburgh -"If I could go anywhere", 15 years of the Alastair Salvesen award

Prints

2006-07-20T13:23:00.000+01:00

"Synthesis", original -watercolour on paper

I have just received a copy of a couple of Giclee prints in the post today which can be purchased directly through the printers at http://www.macdonaldfineart.co.uk/index.php

The image quality is excellent and I thoroughly recommend them if you collect Giclees. Originals are obviously infinitely more desirable but if the painting has already been sold, then this is an excellent way to still have the image at an affordable price.

"Industrial Growth", original - Watercolour on paper

Morocco: windows

2006-07-17T14:18:00.000+01:00

"3 cobalt windows", Marakech, watercolour on Paper

I am having an exhibition of work in the Open eye Gallery, Edinburgh, Scotland in September 2007.

The theme of the show is Morocco and I have tentatively called the exhibition Morocco: Windows, carpets and Orange boxes. I shall, over the course of the next few months, post a few teasers of pieces which will be considered for the exhibition.

I am to have a catalogue produced and therefore will have to create a lot of my work a good couple of months in advance of the exhibition. Nothing like a bit of pressure to focus the mind.

The "3 cobalt Windows" is an amalgamation of 2 viewpoints. One contains the window and another is a view from the El Badi palace ruins. Its really a painting of an imagined situation in Marakech. Something that I do all too frequently. The trick is to make it look convincing.

How did you paint that?

2006-07-11T14:13:00.000+01:00

Lily Shadows, watercolour on paper

“Lily Shadows”

The still life was lit by one of a series of small spot lights I have wired to the roof of the studio- by playing around with the spots left and right I was able to come up with an interesting composition where objects dissolve and emerge from the shadows.
Shadows and lighting are extremely important to me and I spent a great deal of time with the lighting getting exactly the right sort of conditions to produce an interesting picture.

The colour philosophy for this picture was to create a particular orange/green balance around the painting with the blacks (produced by mixing Prussian blue and sepia) acting as anchors, punctuation and full stops. The light flickers through the leaves with a gentle warm glow.

I begin each picture with a clear idea about composition and then set about creating a fairly precise pencil drawing using a 2B-4B, being careful not to press too heavily on to the paper. Once I have the drawing done (sometimes that can take a couple of days in itself), I begin with the palest washes, often limiting the colour to a very small range and working with pure colour (unmixed).The only colour I mix constantly would be my black (blue & brown).
I proceed to build the picture through layers of pure colour anticipating results (laying blue over yellow –green), effectively mixing on to the paper with a series of glazed layers.

I work with the colours watered down to begin with and proceed to thicken the mix as the painting progresses. I make sure once a layer goes down, never to go over it again until its dry (even if I make a mistake) as this will result in a bare patch forming (the more you agitate the surface the more you lift out not put on)
I am constantly assessing what the picture needs and I never get into being too specific too quickly. Let all areas progress at the same time (I change this axiom when I am doing a complex painting involving different techniques in different areas, -i.e., texture in one part, smooth wash in another). I may introduce colour pencil at some stage if I feel it is needed and not every picture needs it. In this instance it helped with adding slight orange to shadows and producing smooth transitions from one part of the wall (top) to another. It is sometimes useful if you have overstepped the tone of a particular part to work back over with a slightly paler pencil. I then proceed to eventually work into areas with detail, tidying up edges, picking out highlights with Chinese white (not a purist I’m afraid) and viewing the picture from a distance to see if it is reading as a whole and not as a jumble of parts with equal focal points jousting for attention.

The picture has a lot of different techniques working together as a unit – I don’t like it to be very obvious how each part was created. If I become too aware of a particular technique then it has been “over cooked”. There are a lot of flat washes and a number of wet on wet areas – particularly at the start. Once I have achieved what I need from the wet on wet (the back wall was originally created this way) I then prefer to work wet on dry. I always try to reserve my whites by using masking fluid and the ball and certain parts of the flowers were kept this way. I will use Chinese white if I need to but find that it can be quite cold compared to the white of the paper. There is a little bit of spraying with an airbrush to soften the shadows- again I use this tool in certain circumstances and not in every picture.
My motto is use whatever works as long as it is conservation friendly, i.e. I don’t want bits falling off the picture next week!

The main challenge with this picture was to get the punchy quality produced from the shadows without the shadows becoming an overwhelming part of the picture – I needed them (shadows) to sit quietly in the background, not competing with the main object of focus (flowers).

How did you paint that? 100 ways to paint still life and florals.
ISBN 1-929834-39-X
Published by International artist

Illusionism

2006-07-07T10:07:00.000+01:00

Angus McEwan RSW
“Art and Artifice”
Watercolour, acrylic and watercolour pencil
on Fabriano not 300gsm watercolour paper

This painting can be loosely described as having connections to the form of painting called “Trompe l’oeil”, which is French for deceiving the eye.

The painting is part of a door taken from the fish market in Venice, Italy. The door has a window which has rusted iron slats across it. The door is rather roughly put together and has been painted green at one stage, but is now looking worse for wear with the passage of time.

Below the window is a note attached to the door. On the note is a drawing of a flower and although monochromatic has fooled a bee into taking a closer look.

This directly relates to a story told by “Pliny the Elder in the ‘History of Nature’, where the ancient painter Zeuxis is praised for painting such realistic grapes that birds would come along and pick at them, mistaking them for the genuine fruit.”

Woven subtly in amongst the piece of white paper is a hint of a map of Venice, thus placing the door geographically.

Illusionism and deception is what this painting is about, thus the title, “Art & Artifice”.

Angus McEwan RSW

More Publications

2006-07-03T12:46:00.000+01:00

"Eye of Flora", Watercolour on paper

How did you paint that? 100 ways to paint flowers and gardens.

Inspiration
The reason for painting any picture can be rather difficult to explain, the best solution I have found is to allow my gut feelings to take a part in the decision making process. Most often than nought it has more to do with how something looks, rather than the subject matter itself. In this instance I enjoyed the play of light falling across the dried and fragile flowers. The depth of tone and colour drew me to the subject, the chiaroscuro, intrigued me and the challenge held me there. I rather enjoyed the way the darkness dissolved some of the objects, and I often look for this aspect when choosing a subject to paint.

Symbolism
I quite like the idea of a window, within a window, within a window (the painting of course in the traditional sense could be seen as a window into another world). If the eye is known to be the “Window of the Soul”, the window is thus known as the “Eye of the Soul”, symbolic of consciousness and of the individual’s perception of the world. Flora was the goddess of spring, the vine, fruit, flowers and grain, symbolizing fertility. Thus the title, the “Eye of Flora”.

Composition
We are looking at a vase of flowers sitting on a window (almost in the centre of the painting); on the left hand side there is another window which is flooded with light. Between the two windows, there is a corridor.

There are a few objects sitting on the window sill which, I decided, would become simplified shapes hidden in amongst the shadows – suggestions are so much more powerful than statements.

The focal point is obviously in the centre of the picture and is of course the busiest in terms of detail, tonal contrast and colour range.

"How did you paint that?" 100 ways to paint Flowers and Gardens

ISBN (1-929834-44-6)

How did you Paint that?

2006-06-30T09:35:00.000+01:00

Under the Boardwalk -Santa Monica, CA, watercolour on paper, 84 x 66cm

"100 ways to paint;

Seascapes, Rivers & lakes".

This publication was produced by International artist and it presents 100 different artist's work and the method s they used to create their masterpieces. My painting "Under the Boardwalk" was reproduced as Artist 51(not unlike area 51 - a complete mystery). Here is a small note on the inspiration behind this piece.

Main Challenge – Light
The quality of light I enjoy in Scotland tends to be of a particular steely blue character and when I go abroad the sunlight has a stronger warmer, yellow quality that really intrigues me. Of course it’s not only the sunlight that interests me; it’s the quality of deep intense blue shadows that usually catches my eye.

My parents live in Los Angeles and I visit on a yearly basis, occasionally doing a little painting, but most often than not observing. I take pleasure in the quality of light, the Spanish style architecture and the over all Mediterranean feel to this area.

When I visited Santa Monica Pier last April, it was fairly windy but the sun was shinning and it really made the sea sparkle and I spent quite a while watching the waves crashing against the legs of the Pier. It was the colour; the light; the shadows and the immense power of the sea that attracted me to paint this subject.

I often travel abroad with students and have visited in recent years Venice (Italy), Barcelona and Madrid, and it is always the light that captivates me. Any subject matter, no matter what that might be always seems to come alive when the sun hits it. I envy those who enjoy more than their fair share of strong sunlight, it is possibly because I don’t see very much of it that makes me notice it and appreciate it all the more. The shapes of the shadows and strong tonal contrast are my subject matter.

Equipment
I painted on Fabriano Artistico 300g/m2, cold pressed, fine grained, white watercolour paper.
In this painting I used a Squirrel mop brushes for painting the water and watercolour sable “round”, size 10 to 000, and square headed one stroke synthetic brushes 1” to ¼”. I also used a “plant” spray gun for applying a bit of splattering in the water area.
Colours
I used a particularly large amount of different greens in this painting.

The following Watercolours were used in conjunction with a wide range of watercolour pencils;

Chinese Orange; Olive Green; Phthalo Green light; Cobalt Turquoise Light; Indian Yellow; Cinnabar GP Light Extra; Violet Grey; Burnt Umber; Prussian Blue; Cinereous Blue; Mars Yellow.

I do use Professional quality watercolours going for colours that are high in saturation, pigment and are proven to be light fast.

"How did you paint that?

100 ways to paint Seascapes, Rivers & Lakes

Volume 1

(ISBN 1-929834-45-4)

International artist Publication.

Publications; The watercolour "Skies and Clouds" Techniques

2006-06-28T13:01:00.000+01:00

"River clouds", watercolour on paper

Through International Artist Magazine I have contributed to a number of publications produced by them over the past couple of years.

In The Watercolour "Skies and Clouds" Techniques of 23 International artists (phew!), I contributed to a chapter entitled - "Angus McEwan demonstrates how optical mixing can create richer colours". In this chapter I basically explain how I use watercolour, through a series of pure coloured layers rather than through colour mixing.

"Early morning - St Andrews", watercolour on paper

"Early morning - St Andrews" (above) is featured in the book. It shows me working step by step through the painting process towards the finished piece.

If you are interested in purchasing this or any other book by International artist you can find them here at;

http://www.international-artist.com/default.htm

The ISBN no for the "skies and clouds" book is as follows - (1-929834-35-7)

UK (£18.99)

US ($29.99)

I shall show you other publications later.

International Guild of Realism

2006-06-26T16:11:00.000+01:00

" Holding back the pressure", Watercolour on Paper

I have mentioned on previous postings that I am an elected member of the Royal Scottish society of Painters in Watercolour (RSW). I am also an associate member of the International Guild of Realism (IGOR).

I am unashamedly a realist painter and believe that you should be true to yourself, with that in mind I have nailed my flag to this particular post with rivets.

The International guild of realism's mission is "to advance realism in Fine Art and to promote the careers of representational artists".

You can find the guild at this address;
http://www.realismguild.com/

Alastair Salvesen Award

2006-06-21T20:56:00.000+01:00

Imperial Facade, watercolour on paper

It has been 10 years since I received this scholarship. I spent 3 months in China, and it proved to a seminal point in my art career in terms of subject matter, materials and methods used.

Turning point- Winning the Alastair Salvesen Award

When I decided to return to college in 1995 to study a post Graduate Certificate in Secondary Education, I had already been painting, and exhibiting, as well as working full time for eight years. It was during this period while at College, that I applied for a number of scholarships, one of which, I was fortunate enough to win, the Alastair Salvesen Travel scholarship.

I chose to visit China, and spent 3 months traveling and painting, almost as soon as I had graduated that June in 1996. I traveled from Beijing to Xian, Chongching to Nanjing, down the Yangtze River, and then on to Guilin and Yangshuo in the South of China.

As part of winning the scholarship, it was necessary for me to produce a number of paintings documenting my experiences. These were then to be exhibited in the Royal Scottish Academy, Edinburgh, on my return to Scotland. In the end I produced a total of 51 pieces.

I worked mainly from life and began to establish a rapport with watercolour, a medium I hadnt really explored properly up until that point. Since the material was light and convenient to carry, I found I could climb hills, produce a painting at the top, return to the hotel and finish the work from memory. This versatility gave me confidence to really start enjoying watercolour and I began to experiment with it.

This was the turning point where I established my interest and association with the medium of watercolour. The year before, I had been elected a member of the royal Scottish Society in Painters in Watercolours, but it was mainly with my acrylic work. I really didnt start using the medium in earnest until the China trip in 96.

For the past few years I have concentrated on watercolour and I have discovered and investigated a number of techniques which can describe a multitude of surfaces, (which I think are particularly unique). I owe it all to winning the Scholarship because it forced me to confront a medium I had considered at one point too difficult to even contemplate trying.

Escape, Oil on Board 1996

The reason for bringing up the Salvesen Award is to mention that my friend and colleague at Dundee College, David Martin is the most recent recipient and you can follow his travels through the middle East (brave man).

http://www.davemartist.typepad.com/

Marrakech

2006-06-20T20:14:00.000+01:00

Welcome to Marrakech, Watercolour on paper

I am still working on the Morocco series for my exhibition in the Open Eye Gallery. I have a couple of months to work on my paintings and have completed about half the show .

Small paintings like this one still take me around a day to complete. Some of the larger pieces take months. What matters to me is the quality of the work and I would never knowingly let a piece out of the studio incomplete. The worst thing to me is to come across an older work which I know is not finished to the best of my ability at the time.

A finished work is one that no longer annoys me. When I do finish them I like to put them away and not look at them for quite some time. I know some artists like to live with their work for a while but not me. Once they are complete I move on mentally.

Made in Fife

2006-06-19T20:39:00.000+01:00

The Alchemist's door, watercolour on paper

A mixed exhibition featuring the work of artists living or working in Fife opened on the 2nd of June, 2006 at the Jerdan Gallery, Crail. The exhibition continues until the 26th of June, 2006 and some of the work can be viewed at their website;

http://www.thejerdangallery.com/gallery/fife

I have 4 pieces in the show, two of which are seen here.

"The Ascent", watercolour on paper

In the Store

2006-06-18T14:17:00.000+01:00

"In the Stone of Venice", watercolour on Paper, 101 x 117cm

Sometimes through circumstance, the storeroom contains one or two gems which have only been viewed a couple of times. This piece, "In the Stones of Venice" was originally painted and shown in the Singer friedlander watercolour exhibition. When it returned I had it in the Queens Gallery for a couple of weeks then buried it in the store. I thought I would let you have a look as its feeling neglected (but alas not alone).

A wee note;

“In the Stones of Venice”, alludes to my feeling that the passing of time is conveyed by the surface history contained within an object, much in the way an old person is said to have their past written on their face.

In this painting I have hidden within the lower part of the wall, a map of Venice, which can be seen glinting from the surface like a vein of gold. The history of Venice is very much contained within her buildings and it was this, above all else, that impressed me the most about this unique city. So much so that I felt I needed to communicate this through my work.

The title also alludes to John Ruskin’s, “The stones of Venice”, where he spent long months working in Venice until he had reduced its beauties to “mouldings and mud”. My studies of Venice have reduced her to surface texture and ambiguity.

Saatchi Gallery

2006-06-16T13:36:00.000+01:00

" The Water Guardian", watercolour on paper

Winner of the John Blockley prize, RI 2005

You can view some more of my work on the Saatchi Gallery website. A very informative and easy to use site, the virtual tour is definitely worth the visit.

http://www.saatchi-gallery.co.uk/yourgallery/artist/details.php?id=4443

Thompsons Gallery Annual show

2006-06-15T19:36:00.000+01:00

" Dragon slayer", watercolour on paper

Recently I have been informing everyone about where you can view and purchase my artwork in a "real gallery" setting rather than a virtual one. The obvious advantage is that seeing work in the flesh allows you to see subtleties, richness of texture, sense of size and the depth of the surface.

The beauty of the internet is that buyers from across the world can have the opportunity to view and purchase work that would previously be unseen except to a select few.

With that in mind, I will continue to show examples of my work on here and let you know where you can see or purchase them.

Thompsons Gallery, Annual show '06

( Aldeburgh, England)

3rd June-23rd June 2006

The Annual Exhibition is Thompson's largest and most important show, exhibiting works from all our major gallery artists and leading 20thC British Painters.

"Door of Ichthus", watercolour on paper

http://www.thompsonsgallery.co.uk/

Artists Kew

2006-06-14T12:50:00.000+01:00

This is just a wee note to say that the "Artists Kew" exhibition finishes on Sunday the 18th of June, 2006. If you still want to see the Exhibition times running out. Here is the website address to see the opening times/dates;

http://www.rbgkew.org.uk/artistskew/artists/McEwan_Angus.html

Royal Scottish Society of Painters in Watercolours

2006-06-13T21:50:00.000+01:00

"From the Water", watercolour on paper, 100 x 122 cm

The 126th annual RSW (Royal Scottish Society of Painters in Watercolours) exhibition opens in Edinburgh (The Mound, Princes street) on Saturday the 17th of June and is always an excellent example of the vibrant and eclectic nature of Scottish Art. If you want to see a contemporary water colour exhibition (not an oxymoron) that challenges preconceptions of what constitutes a watercolour then you must make a visit.

I am an active member of the society and the above painting will be shown in the exhibition.

http://www.thersw.org.uk/exhibitions.asp

Pictures of the Day

2006-06-12T20:34:00.000+01:00

Sea Defences - Essaouira, Morocco

Continuing on the theme of paintings for sale in the Queens Gallery, here are a couple of very small pictures (6" x 4") which will be sold unframed. These are so new they were just completed a few days ago.

Moroccan rust - watercolour, 6" x 4"

Picture of the day

2006-06-09T10:05:00.000+01:00

" Boat building in Essaouira", watercolour on paper

This picture along with three others is to be exhibited at the Queens Gallery, Dundee, Scotland - opening Friday June 16th 2006. The exhibition is an annual charity event held on behalf of Dundee Heritage Trust.

http://www.queensgallery.co.uk/

An artist friend of mine, Douglas Robertson said when he saw it, "You went all the way to Morocco to paint a subject you could do here" (Scotland). I think that, that, is the point. When we visit places, in particular to work, we impose our viewpoint and see the things that matter to us, regardless of where we happen to be. So I paint old crumbly walls, doors, windows, boats, etc whether its Dundee, Los Angeles or Venice.

What I see is what I see.

Douglas Robertson's work can be found at;

http://www.douglasrobertson.co.uk/

Capturing the Essence

2006-06-08T12:42:00.000+01:00

Sketch outside San Marco, Venice

Brevity, not necessarily speed, is the way to capture the essence of your subject. You should come away from the subject feeling you have enough information to be able to make sense of it later.

Finished Painting, watercolour 5" x 7"

Drawing as a starting point

Capturing the essence of your subject has to be your main objective when time; weather (primarily the changing light), unwelcome observers (I have had sketchbooks plucked out of my hands while in china, so they could have a better look.) and patience is limited.

Working fairly quickly isn’t necessarily the answer, brevity is. Your role as an artist is to capture the image with as many, or as few, well placed lines as possible. To reduce the image in front of you to as much information as you need in order to either develop the work later by using your sketch as a starting point or as inspiration in a more considered piece/s back in the comfort of your studio.

The beauty of a sketch compared to that of a drawing (which may well be extremely well crafted and accurate), is the complete ease and lack of pretension exhibited, the ability to get to the nub of the matter and to ignore frippery and unwanted detail. It is this, which you want to be made aware of, when you go to develop that sketch.

What was it that originally attracted me to the subject? This is the question you should always ask yourself, as forgetting this, means the image loses its focus and power.

Mists on the grand canal

Fishmarket lantern. venice

Finished watercolour

More Kew

2006-06-06T21:24:00.000+01:00

"Pagoda tree", graphite on paper

Here are a few more images related to the "Artists Kew" project, which is still on display at Kew gardens, London. The above image was produced on site and the following painting was developed back in the studio from a variety of references.

"Pagoda tree", watercolour

The "Dukes garden" was the 4th in the series of "Artists Kew" paintings. This picture was also produced while working on site in Kew. The painting had the added advantage of some colour notes, as it was really the colour that interested me in the subject to begin with.

"The Dukes Garden", watercolour

Artists Kew

2006-06-06T20:37:00.000+01:00

"Industrial growth", watercolour

College artist’s blooming good show!

The world famous Kew Gardens is being offered a helping hand from a Dundee College artist.

Angus McEwan has produced four works for the Artists KEW exhibition to be held in London in a bid to boost funds to support the Royal Botanic Gardens plans to construct a purpose-built gallery to display Kew’s unrivalled collection of botanic art.

Angus is one of 50 artists supporting this venture.

One of the pieces the lecturer painted for Artists KEW has already proved a success; “Industrial Heritage” has been made into a print by Macdonald Fine Art.

The same piece has also won a finalist award in the April/May edition of International Artist magazine.

“To say that I am excited about this project would be an understatement,” commented Angus.

“I am really chuffed to have been approached by the Artist KEW organisers to take part in this exhibition and equally pleased that ‘Industrial Heritage’ is already attracting so much positive attention – before the exhibition has even opened!”

It is thanks to a previous success that Angus was approached by the organisers.

“Evidently the organisers saw some of my work in the Royal Institute of Painters in Water Colour (RI) Annual Exhibition in London’s Mall Galleries at the tail end of last year and were so impressed they approached me to submit work for Artists KEW.”

Artists KEW opens at the Kew Gardens Gallery on May 9 and runs till June 18. A selection of the works, including one of Angus’s pieces, go on show in a preview exhibition in Messum’s of London from April 25-27.

For those who can not actually visit the exhibition, Kew Gardens are producing a hard-back catalogue of the exhibition with a foreword by Sir Roy Strong and an epiloque by Lord Selbourne in his capacity as both chairman of Kew’s trustees and a patron of Artists KEW.

"Lasting Impression", Watercolour

Danger - Artist at work

2006-06-05T21:03:00.000+01:00

Angus McEwan RSW

This Blog will allow me to keep those interested in my work up to date with current projects and allow feedback if you feel so inclined.

The painting above was produced after returning from Morocco in October 2005. I am currently working on a number of images connected to this trip which will be Exhibited in the Open Eye Gallery, in September 2006.