Object of the Week

Object of the Week 45

Artist’s statement:
With the introduction of new technologies to art and design, the debate of handmade versus digital has continued to divide opinion.
My aim was to explore and determine the “value” of handmade processes and outcomes, and why they should have a place in this digital era. Most designer makers regard digital technologies as an aid that runs parallel with more traditional methods of working.
I looked at traditional Scottish crafted objects and revolutionized them with modern techniques; it was intriguing to see the comparisons between the traditional and contemporary works. I acknowledge the significance of evolution which is essential overtime, however I believe traditional handcrafted methods can coexist with technology.

Silenced Voices

RGU Art and Heritage were invited to deliver an exhibition for the Media, Communication and Cultural Studies Association conference being hosted this week here at RGU. These artworks are on display on the main concourse of the Sir Ian Wood Building.

Secure Obligation, Jane Cruickshank, 1998
Hallway, Robbie Bushe

The artworks were selected with the input of Sarah Pederson, Professor with the Creative and Cultural Business School, and all reflect the theme of this years MeCCSA conference, ‘Silenced Voices’.

School Meeting, Andrew Cranston, 2008
Mujeres, Angela Alanis Dillon, 1989

Find out more about the conference here:

Object of the Week

We adore this sensitively crafted ceramic sculptural form created in 1986 by Gray’s School of Art alumnus Jamie Cutts. See Jamie’s statement below to learn more about his inspiration:

My work at that time was all landscape driven. I was inspired by the ancient stone circles and standing stones scattered across the North-east countryside, the largest concentration of sites in Europe. I looked in wonder at the presence of these ancient structures still surviving in a modern landscape, surrounded by intense farming and modern ploughed fields. In creating ceramic pieces, I attempted to try to evoke a feeling of loss. Not only of the many ancient sites but also of the ancient landscape. In not reproducing actual stone circles or standing stones, and in their stead placing broken columns or stylised shapes I hoped to add a sense of mystery to the works. They could be from anytime or be anything.