{"id":52523,"date":"2024-10-18T14:16:40","date_gmt":"2024-10-18T13:16:40","guid":{"rendered":"https:\/\/artmag.co.uk\/?p=52523"},"modified":"2024-10-25T17:03:04","modified_gmt":"2024-10-25T16:03:04","slug":"watching-the-watchers-at-tatha-fine-art-newport-on-tay-2","status":"publish","type":"post","link":"https:\/\/artmag.co.uk\/watching-the-watchers-at-tatha-fine-art-newport-on-tay-2\/","title":{"rendered":"Watching the Watchers at Tatha Fine Art, Newport-on-Tay"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk--1024x674.jpg\" alt=\"\" class=\"wp-image-52535 lazyload\"\/><noscript><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"674\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk--1024x674.jpg\" alt=\"\" class=\"wp-image-52535 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk--1024x674.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk--480x316.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk--150x99.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk--768x506.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Newport-at-Dusk-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><\/figure>\n\n\n\n<p><strong>Tatha Gallery<\/strong>\u2019s latest <em>Interactions<\/em> exhibition opened last weekend. I arrived quite early for its opening: it was a quiet October evening, with the blue hour setting in, and waves gently lapping at the shore. The serene atmosphere inside reflected that of the outside: warm light emanated from the gallery, echoing the last sun rays from the horizon; and the pastel-blue hues of forget-me-nots on the paintings reflected the hour of evening.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--1024x1365.jpg\" alt=\"Celie Byrne, \u2018Naseem\u2019, oil on canvas\" class=\"wp-image-52534 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"1365\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--1024x1365.jpg\" alt=\"Celie Byrne, \u2018Naseem\u2019, oil on canvas\" class=\"wp-image-52534 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--1024x1365.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--480x640.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--113x150.jpg 113w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--768x1024.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas--1152x1536.jpg 1152w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Naseem-oil-on-canvas-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Celie Byrne, \u2018Naseem\u2019, oil on canvas<\/em><\/figcaption><\/figure>\n\n\n\n<p>Upon entering, one is greeted by a woman with a resplendent smile portrayed on a vivid ochre background, adorned with a multicoloured sash that doubles as a dress \u2013 <em>Naseem<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--1024x1719.jpg\" alt=\"Stuart Buchanan 'Country Scene' oil on hessian, 'New Gold Day', oil on canvas\" class=\"wp-image-52527 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"1719\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--1024x1719.jpg\" alt=\"Stuart Buchanan 'Country Scene' oil on hessian, 'New Gold Day', oil on canvas\" class=\"wp-image-52527 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--1024x1719.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--480x806.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--89x150.jpg 89w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--768x1290.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas--915x1536.jpg 915w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Country-Scene-oil-on-hessian-New-Gold-Day-oil-on-canvas-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Stuart Buchanan &#8216;Country Scene&#8217; oil on hessian, &#8216;New Gold Day&#8217;, oil on canvas<\/em><\/figcaption><\/figure>\n\n\n\n<p><em>Interactions<\/em>, the gallery&#8217;s owner Lindsay Bennett tells me, is about the space between people and how we relate to one another. The exhibition centres around works by four figurative artists from Scotland. The word \u2018interaction\u2019 is essentially a metonym for relationships. However, the show goes beyond visually describing human interaction solely \u2013 it includes all kinds of characters, such as animals and trees, among others. At the same time, many of the canvases comprise solitary figures \u2013 the space that expresses their individuality.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board--1024x660.jpg\" alt=\"Stuart Buchanan 'Country Scene' oil on hessian, 'New Gold Day', oil on canvas\" class=\"wp-image-52531 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"660\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board--1024x660.jpg\" alt=\"Stuart Buchanan 'Country Scene' oil on hessian, 'New Gold Day', oil on canvas\" class=\"wp-image-52531 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board--1024x660.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board--480x310.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board--150x97.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board--768x495.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-On-Equal-Terms-and-The-Comforter-oil-and-pencil-on-board-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Joyce Gunn Cairns&#8217;,&#8217;On Equal Terms&#8217; and &#8216;The Comforter&#8217;<\/em><\/figcaption><\/figure>\n\n\n\n<p>A painting that struck me as very poignant, and a wonderful example of interaction between two living beings was Joyce Gunn Cairns\u2019 <em>The Comforter<\/em>. It depicts a young person gently hugging their pet cat. The way the person\u2019s head gently leans towards the cat\u2019s discloses the affection between the two. The soft treatment in pencil and oils gives the paintings a graphic quality, and lends an effect of grain in a film strip. This reminds me of old family photos that had a grainy effect that rendered them somewhat hazy, yet continue to evoke affection and nostalgia. This delicate composition reflects the sentimental bond between the two beings.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1-1024x957.jpg\" alt=\"Joyce Gunn Cairns, \u2018My Mother Myself\u2019, oil and pencil on board, Kevin McFall, \u2018Head of Boy\u2019, charcoal on paper\" class=\"wp-image-52537 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"957\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1-1024x957.jpg\" alt=\"Joyce Gunn Cairns, \u2018My Mother Myself\u2019, oil and pencil on board, Kevin McFall, \u2018Head of Boy\u2019, charcoal on paper\" class=\"wp-image-52537 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1-1024x957.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1-480x449.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1-150x140.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1-768x718.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Joyce-Gunn-Cairns-\u2018My-Mother-Myself-oil-and-pencil-on-board-Kevin-McFall-\u2018Head-of-Boy-charcoal-on-paper-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Joyce Gunn Cairns, \u2018My Mother Myself\u2019, oil and pencil on board, Kevin McFall, \u2018Head of Boy\u2019, charcoal on paper<\/em><\/figcaption><\/figure>\n\n\n\n<p>On the left-hand side, one becomes enveloped in a sea of pastel hues, akin to clouds or candy-floss. The colour scheme continues as one proceeds to other spaces. On this wall in particular, there is a noticeable contrast between the charcoal study of a boy\u2019s face juxtaposed with a vertically-orientated composition of a mother and daughter. Yet, the two works do not clash, due to the inherent powder composition of charcoal that yields its soft quality.<\/p>\n\n\n\n<p>In the painting <em>My Mother Myself<\/em> hints at another facet of interaction and meaning of closeness. Interaction of mother and daughter \u2013 the towering figure of the mother practically envelops the space around the little girl, acting as a shield and protector, but at the same time, perhaps, limiting her in space to express herself. The similar expression of the child\u2019s face and the mother\u2019s, signifies their relationship to one another, but also how the young girl\u2019s only trajectory is to fill that shape of her mother\u2019s mould. The only object that seems to be outside of the grown woman\u2019s influence is her rabbit toy \u2013 a symbol of girl\u2019s individuality.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian--1024x554.jpg\" alt=\"Stuart Buchanan, 'Tay Whale', oil on hessian\" class=\"wp-image-52528 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"554\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian--1024x554.jpg\" alt=\"Stuart Buchanan, 'Tay Whale', oil on hessian\" class=\"wp-image-52528 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian--1024x554.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian--480x260.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian--150x81.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian--768x415.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Stuart-Buchanan-Tay-Whale-oil-on-hessian-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Stuart Buchanan, &#8216;Tay Whale&#8217;, oil on hessian<\/em><\/figcaption><\/figure>\n\n\n\n<p>Another current underpinning the show (that is quite unavoidable considering the geographical positioning of the Gallery) is the sea-related one. As one of the artists, Stuart Buchanan, points out neighbouring Dundee\u2019s maritime legacy, including the whaling, jute (utilised on ships) and shipbuilding industries, as well as RRS (Royal Research Ship) <em>Discovery<\/em>\u2019s expedition to Antarctica in late 1901. Living up the east coast of Scotland near north-east Arbroath, his work carefully reflects local heritage not just through subject matter, such as the skeleton of a humpback whale that appeared on the shores of the Tay back in 1883 (now located in the MacManus Galleries in Dundee), but through surface on which he paints \u2013 hessian, which is a kind of rope that lends his works a certain coarseness and ruggedness, echoing the maritime sphere and the area\u2019s industrial production.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen--1024x446.jpg\" alt=\"Celie Byrne 'Birdman' triptych, oil on board and linen\" class=\"wp-image-52530 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"446\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen--1024x446.jpg\" alt=\"Celie Byrne 'Birdman' triptych, oil on board and linen\" class=\"wp-image-52530 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen--1024x446.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen--480x209.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen--150x65.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen--768x335.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-triptych-oil-on-board-and-linen-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Celie Byrne &#8216;Birdman&#8217; triptych, oil on board and linen<\/em><\/figcaption><\/figure>\n\n\n\n<p>Celie Byrne is an artist whose works stand in sharp contrast to everyone else\u2019s \u2013 her in-depth portraits brim with the vitality of her sitters. Each portrait diverges from the other \u2013 she often sketches out the surroundings, yet fills them in with a solid colour, instead of painting in the details of the surroundings. Thus, all attention is drawn to the sitter \u2013 their attire, expression, mood. Each canvas is painted in vivid colours, whether ochre or turquoise, providing a vital quality to the overall show, in a sense, to anchor the exhibition. Considering Byrne\u2019s background in creating large outdoor murals and installations, it reflects on the scale of the paintings (largest ones among others), as well as how her figures appear larger than life, too.&nbsp;<\/p>\n\n\n\n<p>The <em>magnum opus<\/em> of the exhibition is a triptych of Dr J. Drew Lanham \u2013 an African-American poet, author and wildlife biologist. Here, he is portrayed with his own invention &#8211; cardboard wings, with which he optimistically attempted to fly. Even though he did not succeed in this endeavour, for Dr Lanham, wings symbolise a dream of being able to take flight. Here, wings could also be a metaphor of a flight of imagination. In this painting, the interaction occurs between the sitter and their creative pursuit.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board--1024x1190.jpg\" alt=\"Celie Byrne, 'Birdman', left-side triptych, oil on linen and board\" class=\"wp-image-52529 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1190\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board--1024x1190.jpg\" alt=\"Celie Byrne, 'Birdman', left-side triptych, oil on linen and board\" class=\"wp-image-52529 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board--1024x1190.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board--480x558.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board--129x150.jpg 129w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board--768x892.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Celie-Byrne-Birdman-left-side-triptych-oil-on-linen-and-board-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Celie Byrne, &#8216;Birdman&#8217;, left-side triptych, oil on linen and board<\/em><\/figcaption><\/figure>\n\n\n\n<p>Ceramic floral vases and vessels are inserted around the exhibition, which \u2018shakes the show up\u2019, according to Lindsay Bennett. Amorphous shapes and pastel hues also echo Joyce Gunn Cairns\u2019 colour palette and are almost rendered as clouds.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil--1024x635.jpg\" alt=\"Judy McKenzie, 'Sunset Skies', coloured stoneware and silver Kintsugi 'Purple and Pink Cloud Form' Coloured and grogged porcelain silver goil\" class=\"wp-image-52533 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"635\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil--1024x635.jpg\" alt=\"Judy McKenzie, 'Sunset Skies', coloured stoneware and silver Kintsugi 'Purple and Pink Cloud Form' Coloured and grogged porcelain silver goil\" class=\"wp-image-52533 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil--1024x635.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil--480x298.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil--150x93.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil--768x476.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Judy-McKenzie-Sunset-Skies-coloured-stoneware-and-silver-Kintsugi-Purple-and-Pink-Cloud-Form-Coloured-and-grogged-porcelain-silver-goil-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Judy McKenzie, &#8216;Sunset Skies&#8217;, coloured stoneware and silver Kintsugi &#8216;Purple and Pink Cloud Form&#8217;, coloured and grogged porcelain silver goil<\/em><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas--1024x1033.jpg\" alt=\"Kevin McFall, 'Boy in the Pink', oil on canvas\" class=\"wp-image-52536 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1033\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas--1024x1033.jpg\" alt=\"Kevin McFall, 'Boy in the Pink', oil on canvas\" class=\"wp-image-52536 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas--1024x1033.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas--480x484.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas--150x150.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas--768x775.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/10\/Kevin-McFall-Boy-in-the-Pink-oil-on-canvas-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Kevin McFall, &#8216;Boy in the Pink&#8217;, oil on canvas<\/em><\/figcaption><\/figure>\n\n\n\n<p>The common visual impression from the exhibition is its lightness and almost transcendence. The show represents interaction as an intimate and almost sacred act. As Celine, Julie Delpy\u2019s character from the film <em>Before Sunrise<\/em> calls it, \u2018this little space in between\u2019. She further suggests, \u2018If there\u2019s any kind of magic in the world, it must be in the attempt of understanding someone sharing something\u2019 in that limited space. The show extrapolates this metaphor to all living beings: plants, trees, animals and birds. It contrasts the beauty of solitary existence, with more intimate portraits of interaction.&nbsp;<\/p>\n\n\n\n<p><em>With thanks to Anna Shevetovska<\/em> <em>for this review.<\/em><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p><b><i>Review<\/i><\/b>: Tatha Gallery in Newport-on-Tay is hosting a group exhibition focusing on the way human beings see each other, seeing faces especially in everyday surroundings.<\/p>\n","protected":false},"author":10,"featured_media":52528,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"categories":[190],"tags":[3045,3044],"topic":[252],"class_list":["post-52523","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-visual-arts-reviews","tag-newport","tag-tatha","topic-exhibition-reviews"],"acf":[],"_links":{"self":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/52523","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/comments?post=52523"}],"version-history":[{"count":0,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/52523\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media\/52528"}],"wp:attachment":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media?parent=52523"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/categories?post=52523"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/tags?post=52523"},{"taxonomy":"topic","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/topic?post=52523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}