Scotland + Venice 2007 for the 51th International Art Exhibition
10 June – 2 November 2007, Palazzo Zenobio
Avery, Coombes, Hopkins, Nashashibi, Skaer, Swain
Exhibition Dates
June 10 2007 to November 2 2007
Location
Palazzo Zenobio
Profile
Charles Avery
Working across a range of media, Avery’s art is characterised by formal beauty, humour and a spirit of philosophical enquiry. Avery’s most high profile work to date is his ongoing Islanders project, in which over a ten-year period he has described in drawing, painting and sculpture the topology and cosmology of an imaginary island, inspired by his childhood living in the Inner Hebrides. Read more
Profile
Henry Coombes
Concerned with investigating entrenched political, cultural and class issues, Coombes works with film, oil paint and watercolour to seduce the viewer into familiar and wholesome images, which on closer inspection reveal a dark and subversive subtext. Read more
Profile
Louise Hopkins
Using a variety of materials such as furnishing fabric, newspapers, song sheets, maps and comic strips as the basis for her works, Louise Hopkins’ art can at first appear playful and sensuous. Her primary intention, however, is not one of embellishment, but of disruption. Read more
Profile
Rosalind Nashashibi
Using primarily film and video, but also photography and printmaking, observation of people and their activity is the starting point for Rosalind Nashashibi’s work. In her films, an experience of time passing and a layering of gestures and patterns are key recurring motifs, as is her interest in working across cultures, in Palestine, New York and elsewhere. Read more
Profile
Lucy Skaer
Working on paper – large stretches that in scale resemble unfurled banners, flags or giant scrolls – she draws in graphite, adding enamel paint, ink and gold leaf, producing images which appear fluid and shifting, and open to interpretation. Read more
Profile
Tony Swain
A sheet or cut section of newsprint provides the basis for Swain’s meticulously executed paintings, which offer us a view into a complex and surreal private world. Using the disconnected images found across such a spread, Swain works over this, embellishing imagery, distorting and extending perspectives and introducing new figurative and abstract imagery to produce works which are mesmeric and intriguing. Read more
Profile
Charles Avery
Working across a range of media, Avery’s art is characterised by formal beauty, humour and a spirit of philosophical enquiry. Avery’s most high profile work to date is his ongoing Islanders project, in which over a ten-year period he has described in drawing, painting and sculpture the topology and cosmology of an imaginary island, inspired by his childhood living in the Inner Hebrides. Read more
Profile
Henry Coombes
Concerned with investigating entrenched political, cultural and class issues, Coombes works with film, oil paint and watercolour to seduce the viewer into familiar and wholesome images, which on closer inspection reveal a dark and subversive subtext. Read more
Profile
Louise Hopkins
Using a variety of materials such as furnishing fabric, newspapers, song sheets, maps and comic strips as the basis for her works, Louise Hopkins’ art can at first appear playful and sensuous. Her primary intention, however, is not one of embellishment, but of disruption. Read more
Profile
Rosalind Nashashibi
Using primarily film and video, but also photography and printmaking, observation of people and their activity is the starting point for Rosalind Nashashibi’s work. In her films, an experience of time passing and a layering of gestures and patterns are key recurring motifs, as is her interest in working across cultures, in Palestine, New York and elsewhere. Read more
Profile
Lucy Skaer
Working on paper – large stretches that in scale resemble unfurled banners, flags or giant scrolls – she draws in graphite, adding enamel paint, ink and gold leaf, producing images which appear fluid and shifting, and open to interpretation. Read more
Profile
Tony Swain
A sheet or cut section of newsprint provides the basis for Swain’s meticulously executed paintings, which offer us a view into a complex and surreal private world. Using the disconnected images found across such a spread, Swain works over this, embellishing imagery, distorting and extending perspectives and introducing new figurative and abstract imagery to produce works which are mesmeric and intriguing. Read more