From Friday 8 May find THE UNSEEN MASTERPIECE in our viewing room section of our wesbite here
A daily exhibition of artworks that no one will see, of works that will never be together.
Under a title borrowed (and slightly mistranslated) from Balzac’s Le Chef-d’oevre Inconnu Ingleby presents a series of interconnected images, posted daily in an exhibition that isn’t an exhibition.
The sequence began on Monday 13th April and will continue until the gallery is able to resume its normal programme, publishing a new work daily in a rolling sequence, with every selection being the work of an artist who has taken part in some aspect of the gallery’s more conventional exhibition programme over the past 22 years. It is in effect be a tribute to all of our favourite things.
The works appear each week day via our website and instagram and every Friday an email summarises the previous five days sequence, and releases a newly commissioned film from the studio of one of the artists featured that week. To subscribe to our weekly emails please join our mailing list here.
From a critical moment in the history of non-objective painting, exemplified by Suetin’s Suprematist White Square, we arrive at the work of one of the most singular present-day practitioners of abstraction. Callum Innes is one of very few living artists who can justifiably claim to have invented their own way of making pictures, in Callum’s case with a painterly language that involves the play of additive and subtractive processes,
The present work, Resonance No. 1, 2019 is from an on-going series of white paintings in which paint is applied and dissolved almost simultaneously, one brush putting it on, just ahead of a second dissolving it away, so that pigment and turpentine run in channels down the canvas. Unlike his (probably) better-known Exposed paintings, which are typically made in layers over many weeks, a Resonance work is the product of a single intense day in the studio – the process once begun having to be pushed all the way to completion. He doesn’t make them very often and so they appear almost like punctuation marks between other series. The resulting paintings are curiously contradictory: amongst the quietest and most subtle in the artist’s repertoire and yet also the most demanding to make and, in their finished state, the most active and alive to the play of light across their delicate surface.
Callum took part in our very first exhibition in July 1998 and his friendship and support have been hugely important to us over the past 22 years. We have made six solo exhibitions together in the years since, including most recently an exquisite installation of paintings filled with colour and light to mark the opening of our current gallery in Edinburgh’s former Glasite Meeting House two summers ago. These days he is spending his time between studios in Edinburgh and Oslo, from where he has sent us this short film to mark the end of the 7th week of The Unseen Masterpiece. Thank you, Callum.
- WATCH: Callum Innes in the Studio, Oslo 2020
- Watch: John Smith, The Black Tower, part of week 7 of The Unseen Masterpiece
- Watch: Garry Fabian Miller in the Darkroom, Dartmoor, May 2020
- WATCH: Kevin Harman, Skip 16, frieze New York 2018
- WATCH: David Batchelor in the Studio, May 2020
- WATCH: Andrew Crantston, Studio Sounds, a film by Lewis Cranston
- WATCH: Caroline Walker in the Studio, Spring 2020 (IG TV)
- WATCH: Caroline Walker in the Studio, Spring 2020 (Vimeo)
- WATCH: Katie Paterson at Home, Spring 2020 ( Vimeo)
- WATCH: Katie Paterson at Home, Spring 2020 (IG TV)