William Brian Miller is a Glasgow born artist who studied at Dundee's Duncan of Jordanstone College of Art, graduating in 1981. He went on to take up a lecturing post at Angus College, and in 1990 he developed and delivered the first art college folio preparation course in the newly formed art department. After 30 years of teaching and lecturing, William moved to Johnshaven, a coastal village on Scotland's east coast, where he now paints full time. Several of the artist's latest still life and landscape paintings feature as part of our Spring Fling exhibition.
Born under the shadow of Pendle Hill, Michael Howley is a Lancashire-based artist whose latest body of work 'Mountains and Mist, Scotland' features dramatic scenes of Ben Nevis. Three pastel works from this series feature as part of our Spring Fling exhibition.
For this week's feature, we introduce Lochaber based en plein air artist David Unsworth, whose work is inspired by the dramatic and rugged landscape of the West Highlands of Scotland. Three of the artist's most recent paintings feature as part of our Spring Fling exhibition.
For this week's feature, we spoke to multi-award winning North Uist-based artist Ellis O'Connor. Since graduating from Duncan of Jordanstone College of Art in 2014, the artist has been on a whirlwind of residencies, visual experiences and creative journeys from as far afield as the Arctic circle to as close as the Small Isles. More recently, Ellis has been appointed as an ambassador for Visit Scotland. Her latest series of paintings can be seen as part of our Spring Fling exhibition
Welcome to the third in a series of spotlight features. This week, we spoke to Welsh artist Jan Gardner whose bold, colourful and vibrant paintings are an emotional and spiritual response to the landscapes and environments she knows and loves. Her latest series of paintings, which feature as part of our Spring Fling exhibition, focus on the wild and remote west coast of Scotland.
For this week's artist spotlight feature, we spoke to north east of Scotland-based artist Jonathan Shearer. As a painter who is most at home when working en plein air in the rugged landscape and wilderness of Scotland, we were keen to find out how he was adapting to life in the current situation.
Brian Henderson is an Edinburgh-based artist, who spent a great deal of time living and working in Shetland. After a period of time focussing mainly figurative work, he now creates carefully constructed yet playful still life paintings. In this, the first in a series of artist spotlight features, we asked Brian to give us an insight into his work and process.
“Almost unworkable”: this is how artist Gavin Young describes the camera obscura as a technical aid to artists. Yet there’s genuine enthusiasm and excitement in Gavin’s voice when he talks about the device. In fact, during the course of our 40-minute phone conversation, he returns to the subject several times. There’s clearly something about the images that a camera obscura can project that capture the artist’s imagination. And so, in the build-up to Gavin’s upcoming solo show here at the gallery, we set about finding out what that certain allure might be.
Who doesn’t love a collective noun? From the perfectly suited - a bloat of hippopotamuses - to the downright strange - an embarrassment of pandas (so many questions...). Where do collective nouns originate from and who decides on them? These are just some of the questions that surfaced during a recent conversation between the enquiring minds here at Resipole Studios. So, with Dr Google firmly by our side, we set about researching the subject and, given that many paintings here at the gallery feature birds, we thought this the perfect opportunity to share some artwork with you along with their corresponding collective nouns.
Anna Bussot’s work has drawn much attention since the opening of our spring show at the end of March. Inspired by holidays spent in Scotland, where she gathered field trip sketches, photos and notes on her travels, Anna’s work clearly evokes the wild, rugged and untouched beauty of the Scottish Highlands. Her pieces go beyond the confines of traditional landscaping, blurring the distinction between the imagined and real, somehow inviting the viewer to step inside the canvas; to explore further and immerse yourself in the newly charted territories and emotive worlds within. But how is this effect achieved?