Fine Art Collector | Spring 2013

Fine Art Collector | Spring 2013

fineartcollector SPRING 2013 UK £3.00 US $5.50 castlegalleries.com

ISIS S I M O N G U D G E O N

Limited Edition Bronze Sculpture of 150 | £4,950

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Introduction

FINE ART LIMITED EDITIONS YOUR WORLD

CONTEMPORARY ART from the country’s finest artistic talent.

ARTISTS INTERNATIONAL

LIMITED EDITION ART

LANDSCAPE

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BILLY CONNOLLY

MILLAR STUART MCALPINE MILLER DAVISON YOURWORLDOURART LOUIS SIDOLI

YOUR WORLD OUR ART

CRAIG

JOHN MYATT

NEWTALENT

KEITH PROCTOR ARTISTS

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LOUISE PAUL HORTON

ORIGINAL ART BOB BARKER

ARTISTS INTERNATIONAL

NEIL DAWSON LAWRENCE COULSON DEAR

ORIGINALART LIMITED EDITION ART

fineartcollector SPRING2013 UK£3.00 US$5.50 castlegalleries.com

LIMITED ARTISTS

BOB JOHN WILSON PETER SMITH NEW TALENT DYLAN LEADINGARTISTS

“Story-telling reveals meaningwithout committing the error of defining it.” CAROLINE SHOTTON ORIGINALART&SCULPTURE SIMON CLARIDGE

EDITION ART

SHAZIA PAUL KENTON

GOVINDER HAMISH BLAKELY

− Hannah Arendt

ART

RICHARD

hello. Art isn't just about the aesthetics. It's about the story. Art isn't just about what you see when you look at a piece. It is about what you feel, what you think, what you experience. It's about the story. The most popular artists tell a story without defining the narrative. Through their brush strokes, their definitive lines and their subtle hints of light, they create a framework for a tale to be told and let you fill in the gaps. In this spring issue, we present a collection of iconic comic book covers curated by Stan Lee, which do exactly that. And, we introduce you to our new artist, Richard Blunt, whose pieces are laden with romance and intrigue... GlynWashington

ROWAN

YOUR

WORLD

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Cover artist: Alex Echo Fine Art Collector is published by Washington Green (F.A.P.C.) Ltd and distributed by Castle Galleries Email [email protected] Website castlegalleries.com All the art featured in Fine Art Collector is available through Castle Galleries across Great Britain. Visit our web site at castlegalleries.com to find your nearest gallery. The images contained within this literature are an artistic representation of the collection. To best experience our art, we recommend you contact your local gallery to arrange a viewing. Prices illustrated throughout this magazine are recommended retail prices and may vary. All details correct at the time of going to print. Designed & Produced by Now Media Contributors: Laura McBeth, Helen Moulton, Kate Foster, Sally Rowland & Stephanie Richman.

© 2013 Washington Green (F.A.P.C) Ltd.Printed in England

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FINE ART COLLECTOR SPRING 2013

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Stan Lee

All American superheroes

Stan Lee , comic book writer, editor and former president of Marvel Comics, is widely considered one of the most influential people in the comic book industry. Laura McBeth introduces his debut collection 'Superheroes'

H e is credited with chetypal all American superhero, but those that had their demons. Those that might, if pushed, lose their temper, those that would fall in and out of love, become unwell, question the very essence of their existence. Humans, essentially, blessed (or cursed) with super- hero powers. This type of characterisation and story-telling had rarely been introducing complex characters; characters that were not just the ar-

seen in the industry before and it was the start of a reformation of Marvel and how comic book writ- ers and artists themselves began to engage with their audience on a new level. It is this introduction of the ‘human’, the emotion, that makes Stan Lee’s characters the hugely popular entities they are today. Who amongst us is not aware of Spider-Man? A perfect example of Lee’s humanisation of a character that could so easily have been disassociated with society be- cause of his almost other-worldly, mutant qualities. “He’s a teenager with money problems and girl problems,” says Lee of Peter Parker, “a hero the average reader can empathise with.” No surprise then, that Spider-Man was one of the first collection of limited edition art available through Castle Galleries across the country from February. The collection of six limited editions, are giclée reproductions of some of the most iconic comic book covers ever to have covers chosen to form part of Superheroes , the debut

Avengers #146 1976 Cover artist: Gil Kane

come out of Stan Lee’s reign at Marvel. Working with some of the most accomplished comic book artists, inkers and pencillers, Lee collaborated to

create a host of characters that are known around the world; that transcend generations, gender or background. From the Hulk, to the X-Men, •

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Stan Lee

“To start, I think about what quality I can give the hero that makes them unique, that hasn’t been seen before, but is still logical. And then, I think about how I canmake people care about the superhero.” —Stan Lee In Britain, the Bayeaux Tapes-

The Amazing Spider-Man #50 The Avengers #146 The Invincible Iron Man #47 The Incredible Hulk Special #1 All shown Are all signed by Stan Lee himself and are available as: Giclée edition of 295 Image 24" x 16½" Framed £695 Boxed canvas Edition of 195 Image 40" x 27½" Unframed £750 Framed £995 Portfolio of six Giclée only £2,500 Framed £3,995 Boxed canvas only £4,250 Framed £5,750 The Silver Surfer #4 Giant Size X-Men #1

try, a 70 metre long form of textile art tells the story of the Norman invasion of our shores in 1066 – almost comic-esque in its pictorial narrative of this medieval story that shaped the future of England for decades to follow. And, more recently, works by the famous William Hogarth (such as A Rake’s Progress) during the 18th century began to move towards the overt story-telling we see in comic books today. There is a long established heritage for this type of commu- nicative art, which represents the struggles, the triumphs, the trials, the tribulations and the wonder of the human condition. These artistic outpourings are part of our very nature as humans: com- munities, societies, families and friends are bonded by the telling of a story, the reciting of an event, the sharing of an experience. It was philosopher and theorist Hannah Arendt that said “story- telling reveals meaning without committing the error of defining it,” whilst comic books take this to a level of fantasy, it is this balance that Stan Lee and his artists have managed to achieve so subtly and essence of a character, a moment or a scenario – Superheroes gives the audience enough to relate to the messages being conveyed, but leaving just enough room for those messages to become relevant to the individual, on their own terms. Gallery The Superheroes collection by Stan Lee will be exhibited in galleries this spring, or view online now castlegalleries.com perfectly in Superheroes . Communicating the very

The Invincible Iron Man #47 1972 Cover artist(s): Gil Kane, Vince Colletta

WilliamHogarth A Rake’s Progress

Iron-Man to The Silver Surfer, The Avengers to of course, Spider- Man; this collection, curated by Stan Lee offers the comic book fan a new take on their passion, and for the art lover? Well a foray into ‘sequential art’, rarely seen portrayed with such striking intensity in the contemporary art world. Sequential art itself predates comics by thousands of years. This is not simply a term used to describe graphic novels. The earliest known examples of this begin with cave paintings some 30,000 years ago, and emerge, evolve and appear throughout the subsequent centuries.

The Ancient

Egyptian friezes featured hieroglyphs and logograms to convey their rituals, lifestyles or ideas in a narrative form, and then the Romans – excel- ling and pushing the boundaries of academia, culture and art

gave us Trajan’s Column, some 2,000 years ago; this too, one of the most significant references for both art and communicative story-telling in the ancient world.

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The Silver Surfer #4 1969 Cover artist: John Buscema

Giant Size X-Men #1 1975 Cover artist(s): Gil Kane, Dave Cockrum, Dan Crespi

The Amazing Spider-Man #50 July 1967 Cover artist: John Romita Sr.

The Incredible Hulk Special #1 1968 Cover artist(s): Jim Steranko, Marie Severin

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News showcase The best from the world of fine art

Love & Hope The debut museum exhibition by Paul Horton has been confirmed for autumn 2013. Castle Galleries artist Paul

Art around the globe

years is one of the most popular contemporary artists in the UK, with a unique and charming abil- ity to convey a number of emotive narratives throughout his pieces, making his work highly collect- able and loved by many. Love & Hope, the museum exhibition, will feature over seventy brand new original pastels and for the first time, oil paintings, which Horton is incredibly excited to share.

October 2012 Paintings by Picasso, Matisse, Gauguin, Meyer de Haan, Lucian Freud and two by Monet are stolen from a gallery in Rotter- dam in what was called the most spectacular of art heists; with experts suggesting the stolen paintings could be worth over €50m. November 2012 The Royal College of Art celebrates its 175th birthday with ‘The Perfect Place to Grow’ exhibition, featuring submissions from staff and students alike. Notable alumni include: Tracy Emin, Ridley Scott, Tony Scott, David Hockney and Quentin Blake. December 2012 Elizabeth Price wins the Turner Prize and is awarded £25,000 by actor Jude Law for her 20- minute film, fusing ecclesiastical architecture, a performance by a 1960s girl band and a terrible furniture store blaze. January 2013 Paul Emsley reveals his portrait of Kate Middleton, the Duch- ess of Cambridge; to a mixed response. With some calling it “washed out” and “soft focussed dullness” the artist said of the piece “I wanted to do something that would convey her true self, her natural self as she, herself, wanted; something that conveys something of her sense of warmth.” February 2013 Quentin Blake, famed illustrator of Roald Dahl books and ac- claimed artist in his own right is knighted by the Prince of Wales.

Horton takes a break fromvisiting galleries andmeeting his dedicat- ed fan base this year as he prepares for his debut museumexhibition taking place at TheWaterhall, part of BirminghamMuseum&Art Gallery inOctober 2013. Horton, who has been a published artist for over ten

Must See Exhibitions

Light Show Hayward Gallery, London 30 January - 28 April Roy Lichtenstein: a Retrospective Tate Modern, London 21 February - 27 May Lowry And The Painting Of Modern Life Tate Britain, London 26 June - 20 October JacobEpstein andDamienHirst: Birth, Death andReligion The New Art Gallery, Walsall 1 January - 27 October

NewGalleries

Castle Fine Art, Cheltenham 82a The Promenade 01242 806 807 Castle Fine Art, Edinburgh 20 Multrees Walk 0131 261 9181 Castle Fine Art, Newcastle 61-67 Grey Street 0191 233 2200

Castle Fine Art, Brighton 2 Nile Pavilions 01273 761 495 LoNdoN Artisan Gallery Canada Place, Canary Wharf 0203 229 0172

Kingston-upon-Thames 0208 974 5855 Artisan Gallery Royal Exchange 0207 929 5656 Castle Fine Art St. Christopher’s Place 0207 935 6790

Artisan Gallery 14-18 Fife Road,

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Lorenzo

“The hand holds so much power; the power to love, to create, to hate, to destroy.”

[COMING SOON]

Exquisite sculptures by Lorenzo Quinn from Castle Galleries.

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1 ComeWith Me

Canvas edition of 95

Image 16¾" x 42" Framed £650 2 August Image 12" x 24" Framed £385

Giclée edition of 150

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Lawrence Coulson

BRING ME SUNSHINE As the artist referred to as a 'modern-day Turner,' Lawrence Coulson's latest collection, ‘Romanticism’ is a stunning set of six limited-edition pieces. Sally Rowland explores the subtle development in his much admired style and appreciation of the British landscape

L awrence Coulson ever created’, drawing on life experiences, changes in his personal circumstances and a geographical move. Each painting perfectly captures the atmosphere of the British landscape – the intensity, the tranquillity, and the solitude of wide open spaces and big skies, this time featuring animals, as well as people; it is a celebration describes his latest body of work as ‘the most personal I have

of an accomplished painter find- ing his best form. Coulson has always been hugely influenced by where he lives. Having lived for many years on the edge of the Cambridgeshire Fens where the geographical make up is dominated by huge skies, endless horizons and large empty vistas, he has always responded in paint conveying the dramatic sunsets which are amplified by a flat skyline reflected in the sea or wetlands. As he says “All of this

has provided me with a wealth of reference material to draw upon, but I want to progress and change some of the content and I think this collection, which is one of romantic landscapes, does just that.” “A lot has changed for me in the last couple of years and I like to think I have moved on frommy signature big skies,” says Coulson, whose relocation from the familiar Fenlands of Cambridgeshire to the more rolling hills of Lincolnshire has

significantly developed and reinvigorated his art. As the art critic David Lee says “Lawrence Coulson gener- ously gives us what we like and need – those feelings of solitude and escape in wide open spaces under heavens so high they might reach to the edge of the universe.” This relationship with nature and an innate desire to connect with it and to under- stand the power of nature is key to the success of his atmospheric paintings. •

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Lawrence Coulson

3 Majesty And Mist

Giclée edition of 150

Image 18" x 18" Framed £425

4 Shoreline Dreams Giclée edition of 150 Image 10½" x 36" Framed £475 5 You Are So Much More Canvas edition of 95 Image 28" x 28" Framed £650

6 Estuary Silence

Canvas edition of 95

Image 24" x 24" Framed £525

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August and ComeWithMe represent the romance of part- nership where two people are perceived alone in a big and bold landscape – but not this time near the sea which is something of a departure for Coulson. “The figures are generic but they are a couple and there is a romantic nature to the image,” he says as they are two people together but just tiny specks in the landscape. As David Lee notes “We relish the charm of the peaceful vista with the dream topping of fluffy cloud formations. Crimson sun- sets and numinous moons racing behind clouds stop us irresistibly in our tracks. There, we ponder the bigness of Nature and frequently measure it against our own individual insignificance.” In the seaside trio of images You Are SoMuchMore , Estuary Silence and Shoreline Dreams , Coulson incorporates his familiar themes of big skies and a flat sea but with a more assured and measured tone. Fascinated by the atmosphere of places rather than their mere geography he says he has never been a picture postcard painter

A self-taught artist and son of the well-known landscape artist Gerald Coulson, he has been plying his popular trade in beautiful and arresting sunset landscapes for years. “The big skies and landscapes have been my hallmark and my calling card,” explains Coulson who has always painted in a very disciplined and technically brilliant style. Working in oils, he alternates between painting on panels and more recently big, linen canvases. He spends a lot of time priming and sanding the panels to achieve a smooth surface, and is a great believer in the preparation of his blank canvas before the painting comes to life. Using both brushes and fingers he builds up layers to achieve deep, luminous, and layered colour “I love the 'hands on' approach,” says Coulson “in feeling totally connected to the painting it is as if a little piece of me goes into each one”. Working on several canvases at a time, he works in a dedicated and driven way keeping long studio hours in a place he calls ‘an oasis of calm and tranquillity’.

An admirer of the East Anglian School of painters such as John Constable, Henry Bright and Edward Seago, Coulson has been heavily influenced by their landscapes of a similarly wide open nature. “From a young age I always was drawn to these landscapes,” says Coulson, who remembers his father kick- start- ing his passion for painting by getting him to paint copies of Victorian landscapes from a Sotheby’s catalogue. It has been the bedrock of his career and as David Lee concurs, Coulson is simply redefining a British artistic move-

and feel uplifted by its enormity and beauty.” One of the most arresting images in the new collection Majesty AndMist , is a beauti- ful composition of a single stag deer staring out through an avenue of trees. “I was walking in the grounds of a stately home on a misty October afternoon and just came across this stag. I took a photograph, and the image became the start of the painting for me,” explains Coulson, who believes this painting is a pivotal piece

for him, both in taking on a new style and in the subject matter. It has also been very well received by collectors of Coulson’s work who have responded favourably to

ment. “Like the famous British land- scape artists of the past, Coulson is continu-

ing a long tradition of feeding on human desire to commune with nature

the quiet calm and dignity of the stag in a soft autumnal landscape.

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“I ammore interested in how certain places make you feel, what kind of feelings they evoke.” Coulson is a painter who has great respect for his collectors, and seeks to create something that gives simple pleasure rather than a deep message or meaning. “The bottom line is that I love to paint what my collectors want to see,” says Coulson. “If my paint- ings give pleasure and take col- lectors to a different place even for a short period of time, after a long day at the office or a dull car drive, then I feel I have done my job”. As David Lee confirms “As long as there are fields and busy clouds left in these islands, there will be a need for landscape pictures to remind us of who we are and where we came from, and to provide an escape to qui- eter places when need dictates.” This as many devoted collectors would agree, is what Coulson does impeccably well. Gallery The brand new collection by Lawrence Coulson will be exhibited in galleries this spring, or view online now castlegalleries.com Join the conversation on Twitter #LawrenceCoulson

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“If my paintings give pleasure and take collectors to a different place even for a short period of time, after a long day at the office or a dull car drive, then I feel I have donemy job.”

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Stuart McAlpine Miller

South of France The coastline is exceptional and an opportunity to enjoy at leisure. 5

MY FAVOURITE Stuart McAlpineMiller opens the lid on his eclectic taste inmusic and books, and struggles withwhat to pack for a desert island

Places

Lucca, Tuscany Spent a very enjoyable two years there at the beginning of my career. Glencoe, Scotland The peaceful yet powerful setting is just so incredible. The Lake District A nice place to explore and enjoy climbing, walking and cycling. Cornwall Rugged coast and beautiful sea.

Musicians

John Lennon Proved himself far and beyond the music of the Beatles.

painting and always hoped to achieve the same emotion through my art. Johnny Cash One of the greatest country singers ever. Not always depressing. Elvis Presley Eve- rything about Elvis seemed right and he created a turning point in music. Michael Jackson Amazing vocalist who developed from child star to ground-breaking performer.

Phrases

1. Those who mind don't matter, and those who matter don't mind. 2. If you don't stand for something you will fall for anything. 3. That which does not kill us makes us stronger. 4. Imagination is more important than knowledge. 5. Stay positive.

David Bowie I would listen to Bowie while

Books

To Kill a Mockingbird This is probably the first book that I ever read and has remained clear in my mind for almost 40 years. Papillon The sheer determination to survive is as unbelievable as the story itself. Angela's Ashes The authors

Artists

AndyWarhol He made his art available like no other before him. Caravaggio Very powerful and dramatic figurative painter. Bosche The greatest surrealist painter ever. Francis Bacon His original approach to figurative art invited us to visit a darker side to painting. WillemDe Kooning Abstract expressionist painter with a very challenging approach to his subjects.

To take to a desert island

1. Paints, brushes and canvas. Need I say more? 2. My piano. Great way to improve and practice without distraction. 3. My family… I think the order may be slightly different.

experience as a child growing up in poverty in Ireland is a true work of genius against all odds. Nineteen Eighty Four A fascinating piece of fiction which has had an influence on our everyday language. The Catcher in the Rye All suggestive and reminding us of the difficulty in growing and moving into adulthood.

4. Electricity… could come in handy. 5. A

Boat. Day trips?

Govinder Nazran’s art inspires giftware from Border Fine Arts Govinder Nazran was one of the most talented and innovative artists of the early 21st century and the new giftware from Border Fine Arts celebrates his distinctive art. The varied and colourful Govinder collection, perfect for use and display around the home, includes ceramic mugs and limited edition figurines, resin figurines, glass stemware, coasters, bowls and clocks, and stationery such as notebooks, notepads and memo blocks. Produced to a high quality and with striking packaging, each piece makes an attractive and stylish gift. Original artwork featuring the witty stylised elephants and cats, which Govinder made so popular, has been carefully reinterpreted for the collection. Each design retains Govinder’s unique style based on the balance and harmony of colour, the flow of lines and forms and the connections between shapes. 'Catwalk', Govinder’s first painting, has inspired several pieces including four figurines portraying the sassy cats, and mugs and glassware decorated with elements of this vibrant and much-loved design.

Please contact Customer Services: Enesco Limited Phone 01228 404022 email [email protected] www.enesco.co.uk

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absolute timelessness and grace as well as mystery. "I like my paintings to tell a story or create a bit of mystery. A book, film or song can do this over time but my challenge is to capture a similar feeling in a single image. I am never truly happy with a piece unless I feel it holds enough to stop and intrigue the viewer, if only for a moment." From fun to fine detail Richard's studio is based at his home in Cardiff, with his work carefully structured around a 9-5 day so that family life and painting are firmly separated. Working entirely in oils, he has developed his own particularly process. He starts with an idea of the kind of composition he wants to achieve then puts together a scrapbook of elements he wants to include, such as images, sketches and photographs. "My paintings have a kind of life cycle I suppose. I start by creating a blueprint and a lot of thought goes into this process before I begin to sketch the idea on canvas, including putting together a scrapbook. "Once I have the composition mapped out now comes the fun part, where I can act like a big kid. Using thick impasto paint and a palette knife, I carve life and texture into the canvas. At this stage I don't have to worry about making mistakes: I like to think it's all part of the process and gives the painting some soul. It's only in the later stages of the piece that I get completely immersed in applying layers and layers of thinner paints and washes to create fine detail. Although the finished piece looks polished from a distance, beneath the surface you can still see the marks of the palette knife - like a lingering imprint of its creation."

New Castle Galleries artist Richard Blunt has a passion for music and movies, and a fondness for past eras. Stephanie Richman examines these influences on his stylish paintings, which ooze mesmerising timelessness and elegance When time stands still

my art was soon helping to pay for my music education."

Timelessness and intrigue

His lifelong passion for film and music and a love of 1930s, 40s and 50s styles and images have consistently influenced his work. Godfather-type crime dramas were a particular early inspiration, not just for their period look but also for their underlying sense of sadness and loneliness. "It was this feel that led to a series of paintings of an anonymous lone male figure, usually in a suit, overcoat and a Trilby or Fedora hat," he explained. "I love the romance of the past but I don't pin my paintings down to a particular era or location so that when people look at them, they feel the pull of places and memories that are personal to them." His approach is

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B orn in the West Midlands, Richard's passion for art and music were part and parcel of his childhood and youth. After leaving school and dropping out of a 3D design course at art college, he spent several years gigging with various bands up and down the country before returning to education – this time to university to study music where he graduated with a first class BA Hons. Whilst he was

epitomised in Beyond The Horizon , Dancing At Dawn and Take

studying, he was inspired to try oil painting and was completely captivated. So were other people. "Before I knew it," he said, "friends and family were asking if I could do portrait

Care Of The Moment , which exude

Gallery All three paintings are being released as limited editions of 95, view them in Castle Galleries nationwide or online at castlegalleries.com

commissions and ironically

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Richard Blunt

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1 Beyond

2 Take Care

3 Still Dancing At Dawn Image 19" x 24" Framed £425

The Horizon Canvas edition of 95

Of The Moment Canvas edition of 95

Canvas edition of 95

Image 24" x 24" Framed £475

Image 20" x 30" Framed £495

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Dream The Impossible Dream (now sold out) by Bob Barker has special resonance for Tabitha Dale

Art for the soul

Art’s greatest power is surely its ability to move us, connecting the visual with the emotional in a way that is personal to each individual. After all, as Cezanne succinctly put it, emotion is at the heart of creation. It stands to reason then, that art has a far more meaningful place for its collectors than simply the wall on which it hangs. Kate Foster asks, is art genuinely good for the soul?

T hink about when you last enjoyed a work of art. Maybe you’re doing it now. Perhaps it is a cherished piece that is part of your home. It might be the Titian in the National Gallery that you are drawn to every time you visit. Or something you saw in passing in a magazine such as this, or in a local gallery. Wher- ever it was, whatever it was, the chances are that you connected with it on an emotional level. And perhaps beyond enjoying the immediate emotional reac- tion that it sparked, the artwork had even deeper benefits. Many collectors agree, a little like a romantic relationship, the aesthetic may be what draws us in, but it’s our own connection with a piece that keeps us there. “It brings me calm, whenever I look at it. That’s why I had to

buy it,” explains Tabitha Dale, a government scientist who has collected for several years, of her favourite piece. “It’s a Bob Barker city dreamscape and the more I gazed at it, the more I loved it.” And just as in human relationships, the bond grows deeper with time. Tabitha ex- plains, “I’ve owned and enjoyed this piece for 3 years, and each time I look at it, I see and feel something new.” Harlesden-based collector and artist Mike (known as PIKY) sees this relationship with art clearly from both sides. “To me, a 'great' piece of art has layers to it, and these percolate through the subconscious, so you’re con- tinually finding something new. It absorbs you in ever further.” Soul reviver No wonder, then, that art has

“Awork of art which did not begin in emotion is not art.” - Paul Cezanne

long played an important part in therapy, for those who have suffered physical or mental trauma. Even on an everyday level, the benefits of art as a form of therapy (organised or not) stand to reason: aside from the healing process of creation, art can provide a freedom where normal rules

don’t apply and there is no right or wrong answer. For both the artist and the art appreciator, this freedom is a deeply personal experience, allowing one’s own emotions to be expressed and interpreted safely, simply because they cannot be ‘wrong’. And when you think about the pressures

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Art for the soul

and sheer velocity of everyday life, that’s a singularly valuable kind of freedom to be able to feel. Castle Galleries artist Alexander Millar couldn’t agree more – in fact, he considers art a lifesaver. "Art was my saving grace. I went through a very low stage, when things couldn't have been worse. But art soothed me. I'd go and sit in a certain cafe in Newcastle and sketch people. That, for me, was a meditation. And that was like therapy. It was incredibly cathartic." The meditative state that Millar cites perhaps pinpoints the place where art touches the soul in the most intimate of ways. Whichever side of the easel you may be, to be lost in a piece of art is to stop thinking and to start feeling. The subcon- scious takes over – giving the highly rational conscious mind a rest – and this can make way for a welter of emotions. “Art is an emotion” Millar recalls some of his early Glasgow shows, and his amazement at seeing the profound effects of his work on those who came to view it. “I saw some women of a certain age, and perhaps who shared my background, crying when they looked at the pictures. It was because they understood the feelings I felt when I painted them, that nostalgia of my childhood, that point in time.” While Millar didn’t necessarily intend his work to bring people to tears, he certainly sees emotional expression as his biggest driver. “You paint from the heart, not from the brain. Art is an emotion. What you put on a canvas bounces off and hits people where it matters.” Unlocking and expressing emotions has been key for Rachel Lozano, and she believes she owes a good deal of that to art. Diagnosed with cancer in

her teens, her survival chances at one stage were rated at zero percent. “I used art to express physical pain through paintings. I would also use it as a way of dealing with things that my peers couldn’t possibly understand, like facing death at age 19.” Overcoming those bleak odds, she is now cancer-free and is so passionate about the power of art therapy, that she is mid-way through her Art Therapy Masters. “I want to be able to give that gift back.” When it comes to art, emotion emerges as the vital synapse where artist and appreciator can experience a connection that goes deeper than the aesthetic or the medium. Consider, then, when you next take time to enjoy art that touches or inspires you. That connection you forge with the artist, by responding to their creative motivation is a mirror into their soul – and perhaps, into your own.

Artist Alexander Millar was deeply moved when he witnessed the emotive effect his paintings had on those who viewed his early Glasgow shows

Did you know? Neuroaesthetics, a new discipline in aesthetics attempts to understand how the brain responds to art, explains Laura McBeth In an interesting marriage of science and phi- losophy (long considered uncomfortable bedfel- lows), researchers are attempting to understand how the human brain responds to art. Neuroaesthetics, is relatively recent terminology coined to explain the coming together of aesthet- ics (a branch of philosophy concerned with the interpretation of art and beauty) and neurology (the medical and scientific study of the brain and nervous system) to investigate the experience of beauty and art on the level of brain function and subsequent mental states. Researchers are hoping to answer important questions, that have had scholars and scientists puzzled for some time. Questions such as, what is happening in our brain when we look at a beautiful painting? Why, since the earliest known

civilisations, have we expressed ourselves through art? How have we evolved a need for this type of expressionism, and does artistic expression actu- ally have some sort of survival value for us? One theory is that there is an area of the brain’s cortex that is more active when looking at or experiencing something that the person regards as beautiful. Perhaps unsurprisingly, studies have shown that this area of the brain is also the area involved in producing emotional responses to events or stimuli. I say unsurprisingly, because philosophers, artists and art appreciators have long suspected that the connection to a piece of art is an emotional one. Whether it is a watercolour by a family friend or a masterpiece in the Louvre, there is something that connects us to a piece of art, something that is sometimes indescribable and often indisputable. But, to have this scientifically proven, could rede- fine the way we understand art and its relevance, or even necessity, in civilisa- tions past and present.

Read more at capturedcastle.com

Join the conversation on Twitter #ArtForTheSoul

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S uggest to Billy Con- nolly that, as his must now surely see himself as a fully-fledged artist, and he’s reluctant to concede the point. There’s a pause, then he laughs somewhat incredulously and gleefully confides, “You know, at the BAFTAs, a woman came over and told me she’d bought one of my pieces, and howmuch she loved it. That was a first for me!” Having seen his debut col- lection, Born On A Rainy Day , launch just a year ago to an en- thusiastic reception, you’d think this kind of exchange shouldn’t come as such a surprise. Yet this artist still finds his gift for drawing both unexpected and hard to fathom. “I still think of it as a luxury, really. It’s like meditation. Sometimes I’ll be out or doing something, and then I think, ‘I’ll go and have a draw now’. I like the isolation… of being alone, on a page.” second collection of ink drawings launches, he

DIFFERENT STROKES The eagerly anticipated second collection of evocative line drawings by Billy Connolly from the Born On A Rainy Day series, tells a tale of evolution. Kate Foster investigates what inspires him and the influences of filming on location in New Zealand

That sense of isolation has clearly been fruitful. Connolly’s second collection launches in galleries in March across the country, and sees what some may view as an evolution of his highly distinctive, intricate style. His faceless figures are now joined by wings, birds, even a banjo. And there’s one famous face (or perhaps it’s the hair) that makes an appearance, in Self Portrait With High Horse . Surely the inclusion of a self- portrait in the collection points towards something of an artistic coming of age? Again, Connolly is dismissive of the notion, and claims the inspiration behind it is a simple one. “I delivered this line on stage once – I was being opinionated and angry about something and I said ‘some- times, there isn’t really a horse high enough for me.’ So it’s me and my high horse.” Despite insisting that his art has no deep-seated meaning, and is not about stories (“no beginning, middle and end”),

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1 Self Portrait With High Horse Giclée edition of 95 Image 16" x 22" Framed £625 3 And On Monday, God Made TheWorld Giclée edition of 95 Image 16" x 22" Framed £625

2 Glaswegian Icarus Giclée edition of 95 Image 16" x 22" Framed £625 4 Two For The Road Giclée edition of 95 Image 22" x 16" Framed £625

“I still think of it as a luxury, really. It’s likemeditation. Sometimes I’ll be out or doing something, and then I think, ‘I’ll go and have a drawnow’. I like the isolation… of being alone, on a page.”

the new collection nevertheless evokes a suggestion of folk tales and fable. It’s surely no coinci- dence that half of this collection was created whilst on location in New Zealand, filming The Hobbit, in which Connolly stars as Dáin Ironfoot. Glaswegian Icarus sees a squat, muscular, slightly raffish figure, dwarfed by elaborate feathered wings, seemingly ready for flight. Two For The Road is melancholically companionable – a tall figure with his banjo strapped across his body, his smaller companion standing by patiently, a piece that “puts me in mind of Gerry Rafferty,” says Connolly. Fly Away Peter hints at the surreal, with the relaxed subject providing a perch for a number of characterful birds. Even if it is the meditative inspiration that comes from the aloneness on the page that Connolly describes — rather than stories — behind his work, the simplicity and human- ity of the collection certainly

encourage the beholder towards the escapism and fantasy of childhood. We talk about his style and how it has evolved. It comes as little surprise that Connolly lacks any pretension about his technique, and clearly enjoys the potential for provocation in his very basic approach. He still uses ordinary felt-tipped pens and pencils – the same tools he picked up five years ago on a rainy day in Montreal, when he first started to draw. “To be

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frank, I like the fact that people sneer at the felt tips. Although I did get some proper pens recently… I can’t remember what they’re called.” He’s been experimenting too, with his compositions, trying out background detail (“not convinced”) and flashes of pri- mary colour introduced in this collection through the jaunty red shoes of Glaswegian Icarus . Current projects involve using more colour. He describes ballet dancers with blue shoes; a man with coloured balloons—and more wings. “I’m drawing a lot of angels at the moment. I’ve no idea why. But I’ve promised my kids an angel each.” He laughs uproariously as he tells me that his son Jamie, a keen fisherman, was presented with a typically literal drawing of an angel fish, “You know, a fish. With wings!” When the laughter dies down, he ruminates for a moment, before apologising. “Sorry if this all sounds a bit basic or shallow.” In contrast to these occa- sional, apologetic interjections when he talks about his work, Connolly remains robust in his stance on critics. I remind him of his comment about Born On

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A Rainy Day , that he saw his art as pure and un-judged. Does he still feel that way, a year on? His response is anything but vague, and typically Connollian: “I’m only interested in people who like it — who buy it, because they like it. I’ve no interest, other- wise, in what people think of it”, he declares without hesitation. “I couldn’t give a f*ck.” There’s a beat of a second or two, and then a final apology — this time for swearing. Gallery The new collection is exhibited in galleries in March or can be viewed online now castlegalleries.com spending some time with Michael J Fox, and we were in the elevator at Barney’s. A guy got in, with a sort of v-shaped body because, well, he was clearly no stranger to the gym. He was wearing these candy-striped shorts and a singlet and had a tiny Yorkshire terrier with a bow in its hair. We asked him, “What’s your dog’s name?” “Thor.” he replied. We slid down the walls laughing. Anyway, I ended up drawing this dog with vertical tiger stripes, and his owner.

5 Fly Away Peter

6 Wading Bird

Giclée edition of 95

Giclée edition of 95

Image 22" x 16" Framed £625

Image 22" x 16" Framed £625

We asked: What’s your favourite piece? From these new ones, Fly Away Peter , is a particular favourite. I drew this, because

I wanted to have a bash at drawing something real, the birds. When I was in New Zealand, one of my friends had this painting in his house that was of all these exotic birds. It was all details and intricate and I thought “I’ll have a go at a bird.” So I tried out quite a few, there’s a bit of a turkey there and an owl. And from my first collection, Walkies . Because it reminds me of a great day I had in New York. I’d been

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The digital Age

T he last ten years has seen the world change for each and every one of us. The transformation is the result of digital technology and has been almost surreptitious in nature, settling quietly into every facet of daily life. It’s hard to think back to a time when we reached to the bookshelf to view a map, or sat down at a desk in front of a fresh pile of notepaper, pen in hand to make contact with friends and loved ones. It’s this shift to a virtual exist- ence which is reforming the art world, decontextualising art and repositioning it in places where it is accessible to an incredibly wide audience. In today’s world, where Facebook, Instagram, Twitter and blogs co-exist with the traditional gallery environment, audiences are able to dictate how, where and when they view art. In 2011, Google launched the GoogleArt Project - an online

The blossoming love affair between digital platforms and visual art is something that audiences around the world are embracing with great enthusiasm. From online pin boards and visual blogs to the ground- breaking GoogleArt project, the marriage of culture and accessibility is carving a bright future for the art industry, HelenMoulton writes The revolution is here

platform through which the public can access virtual tours of artworks housed in some of the world’s greatest art galleries. The initiative has done something extraordinary; for the first time in history, some of the most revered and eminent art collections are open to everyone to access in great detail. Amit Sood, the man widely credited for pioneering the project, set out to bring art closer to everyone allowing them to examine work they like at any time of day or night on whatever technology they choose. It’s this inclusive and acces- sible ethos which inspired Castle Galleries to embark on a ground breaking two-year project to bring its portfolio of art and artists into the digital sphere and pave the way for creating an open platform to share inspirational and exciting art from all over the world. Central to the project was the development of a new website

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The digital Age

Join the Digital Revolution with Castle Galleries castlegalleries.com

which allows visitors to access a wide selection of limited edition art. Advanced filters and search functions make browsing the entire collection of art effortless and allows the user to quickly access art which if of interest to them. Encompassing the portfolio of art is a wealth of articles, interviews and videos about the artist that create the works. This branches out into a collection of social media portals that explore not only artists represented by Castle Galleries but news from the wider world of contemporary fine art. But despite the advent of the digital gallery, there will never be a replacement for experiencing art in the environment for which it is created. From Renaissance churches and 17th century palaces to modern day public galleries and our homes, the tangible, physi- cal qualities of art which stir our emotions and enhance our life with their beauty and style will surely always be best experienced when viewing art on the wall. Matthew Slotover, who in collaboration with Amanda Sharp, founded the world-famous Frieze empire, agrees. “The basic model of artists needing commercial galleries to help them sell art has

been around for over 100 years, and I don't think it's going to change. Fairs have taken on more prominence in the last 10 years or so and I don't see that changing either, because the art world has globalized to such an extent that you can't be everywhere and see everything. Also, as things get more virtual, people need more physical experiences as well”. Alone, very few works of art change the world or the way we see it, but through digital technol- ogy, people now have more op- portunity than ever before to view, discuss, explore and interact with art. Perhaps the digital revolution is gradually finishing what the great precursors of the Modernist Movement started – a Movement which affirms the progressive power of human beings to create, improve, and reshape their environment through knowledge and technology. If this means combining the traditional gallery environment with a virtual world which gives everyone, everywhere access to the art which interests them, we are the first to welcome the next revolution in art.

Beautiful, bold and inspiring art presented in a simple and intuitive way; the website allows users to browse and buy from the UK’s leading portfolio of contemporary fine artists.

capturedcastle.com Featuring exclusive images and interviews from some of the world’s biggest visual artists alongside gallery focuses and guest blogs from industry-insiders, the blog presents a unique insight into contemporary fine art.

facebook.com/castlegalleries & twitter.com/castlegalleries Love art? Join us on Facebook and Twitter where we discuss highlights from the world of fine art as well as providing exclusive insights into what goes on behind the scenes at Castle Galleries.

pinterest.com/castlegalleries Our Pinterest boards delve into the minds of our artists and explore the inspiration behind their work.

Tell us what you think on Twitter with #DigitalArt

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Your World, our Art

From Shameless and East is East to Coronation Street and his current role as Jai Sharma in Emmerdale , actor and art collector, Chris Bisson has undertaken a series of exciting roles throughout his career. We caught-up with him to talk about his favourite galleries, artists and the influence art has both in his personal life and his career YourWorld, Our Art Interview: Chris Bisson

the resin finish interacts with the colours. I have actually commissioned Alex to do a painting in the shape of a heart for my girlfriend and I to celebrate the birth of my son. I can’t wait to see the finished piece! What do you think is the most important factor in choosing the right piece of art for you? There are somany factors that I think are important: space, location in the home, style, relationship to room, size. Personally, I am drawn to art whichmakes me happy but I think the important thing is that any art you invest in should have something in it for you. Caroline’s work is exquisitely detailed and the character she manages to convey through her animals is captivating. I think this ability to make her characters jump out of the canvas is what attracts me to her work. As an actor, I am always studying people’s expressions and character traits and I think it’s amazing howCaroline manages to convey so much personality through the curl of a lip or the slant of an eyelid. I also like the fact that her work appeals to children. I think it’s beautiful. Peter Smith’s work draws on humour and creatures of his imagination. Do you see art as a mode of escapism? Yes, I do. I like the fact that a lot of Peter’s work is quite dark with a childish front. It takes emotion and feeling and makes it accessible. It’s happy, childish, quirky and easy to relate to, which I like. You own Dizzy Heights by Caroline Shot- ton, what is it you like about her work?

work and the colours he uses. I especially like the Blue Nude series. I find myself star- ing at them for ages and noticing something new every time – I think that’s a mark of good art. I also admire Manchester-based artist, Michael J Browne after filming a BBC documentary of his calledMade in Eng- land. Michael is known for creating quite controversial pieces, but the documentary challenged him to create a painting of the Lake District; something far removed from anything he had done before. It was really interesting to see howMichael tackled the challenge and it showed what a talented artist he is. Which pieces of art do you have your eye on next? I love Alex Echo’s work and find the intricacy of it fascinating. From a distance, his work is intriguing, but it gets more interesting the closer you get to it. I love the vibrancy of the colours and the way

Why do you like to have art in your home? Not only is art a great way to brighten up a living space, but it’s also a reflection of my personality. I look at the art in my home every day and so I like it to be bright and happy. I have an eclectic mix of art from landscape paintings and master graphics, to photography, all of which inspire and challenge me. Where is your favourite gallery? What gallery have you visited that you’d recommend our readers to visit? I visitedMOMA in NewYork a few years ago and thought it was fantastic. It is so much more than an art gallery – it’s an experience. The way the art relates to the space and the interaction it encour- ages amongst visitors means it manages to engage with people of all ages, even children find it fascinating. In the UK, I love Manchester City Art Gallery and Leeds Art Gallery, which I sometimes visit when filming Emmerdale. The nice thing about city centre art galler- ies is the oasis of calm they offer, away from the hustle and bustle of the city. The Lowry is another favourite – it’s great having the work of a world-famous artist in Salford. The gallery is never busy and the exhibits are always changing. Who are your favourite artists? I have so many! I like everything from the abstract and thought-provoking work of local artist Geoffrey Key, to the great masters like Henri Matisse. I am lucky enough to own a number of master graphics byMatisse. I love the abstract nature of his

Matisse: Blue Nude

make-up the Blue Nudes were inspired by a visit that Matisse made to Tahiti in 1930 and his collection of African sculpture. It took another twenty years and a period of ill-health before Matisse translated these influences into this seminal series.

Matisse’s Blue Nude series is a collection of gouaches découpées (paper cut-outs) dating back to 1952. Representing female nudes either seated or standing, the work is amongst Matisse’s last in any medium. The painted gouache cut-outs that

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