Featuring: Scott Brotherton, Carla Scott Fullerton, Rosemary Hogarth, Hannah Lees and Laura McGlinchey

Preview: 4th July 2015, 6-9pm

Continues: 5th – 26th July, Thursday – Sunday 12-5pm

Generator Projects presents a group exhibition exploring the liminal space between sculpture and painting, and the use of medium as subject. Often referencing industrial and organic processes; the works explore their own materialities as objects or surfaces.

Scott Brotherton explores the tension between ‘the fixed’ and ‘the fluid’, alluding to the formal language of early minimalism and abstraction, yet drawing on a contemporary emphasis on process, materiality and play in the exploration and exploitation of material qualities. Scott practices from London, often using commonplace materials and metals associated with trade and work: copper piping, brass rods, wire mesh and aluminium.

Carla Scott Fullerton is engaged in the materials process involved in construction and deconstruction, those being old and new. She questions how forms and formless structures sit together, juxtaposing these and playing with shapes that often relate to architecture. Carla lives and works in Glasgow and is showing a series of newly commissioned sculptures that incorporate screen printing screens and etching plates. She is a 2015 Summer Resident at Hospitalfield Arts in Arbroath, and has recently showed work at Govanhill Baths, Glasgow; Chert, Belin and Frans Maereel Centrum, Belgium.

Rosemary Hogarth shows newly commissioned works that lay on the boundary between painting and sculpture. She is particularly drawn to fields of heavy industry, business or city planning, where abstract forms overlap with functionality. The objects and images she produces are informed by machine parts, flow-charts, graphs, diagrams and road signs, and aim to create a tension between what is legible and what is illegible. Rosemary works between Glasgow and Berlin, recently showing in Dresden, Berlin and Vienna.

Hannah Lees investigates ideas of cycles: constancy and mortality; the sense that things come to an end and the potential for new beginnings. This constancy, be it in religion, science, history or in organic matter, is visible in her practice through her attempts to make sense of and recognise traces of life: her work is focused towards an understanding of the essential nature of the materials she uses. Hannah practices in London, recent projects include shows at Kunsthal Charlottenborg, Copenhagen; Rob Tufnell, London, the Whitstable Biennale and the Forest Studio Residency at Stour Valley Arts.

Laura McGlinchey’s slab like forms are layered with materials scavenged – billboard paper, event flyers, and posters and aim to blur the boundaries between painting, sculpture and collage. Richly saturated in home made paint, the works go through stages of collage and decollage through a process of peeling, sanding and layering. The materials constantly refer back to their original urban context, yet reveal new imagined landscapes and abstract imagery. Laura is a recent graduate of Gray’s School of Art and showed work at RSA New Contemporaries 2014.

Generator Publications Issue 5 ‘Materialhood’ will launch on 4th July, with contributions from artists Kim Wilson, Jessica Ramm, Hannah Lees, Rosemary Hogarth and Fiona McCubbin, designed by Lydia Brownlee and co-edited by Alison Scott. This coincides both with the opening of ‘Hold, Sway’ and ‘Print Festival Scotland’, which runs from June 26th – July 5th.‘Materialhood’ forms a platform for critical discussion and a tangential exploration of themes from Generator’s exhibition programme.  

Hear more about the exhibition in this interview with committee member Alison Scott and see some snippets of the exhibition here

DURA (Dundee University Review of the Arts) reviewed the exhibition here