New Artist - 2016__

Art on display

“though it’s more likely to act

in this way for the artists than

the public. For customers,

the effects are negligible.

However, it only takes one piece

connecting with one person to

make it worthwhile.”

Artist and framer Rosie

McLay has exhibited in a diverse

array of sites, including prison

cells, unused town halls, cafés,

doorsteps, museums, hostels

and traditional galleries. Her

current base is a former police

station, now known as The

Island (www.theislandbristol.

com), in the heart of Bristol. “The

building has such masculine

and prominent architecture, yet

today its exterior is embellished

with guerrilla knitting and dirt

graffiti, and inside you’ll find

creative businesses ranging from

musicians to sculptors.”

Rosie says there are some

important factors to consider

when it comes to showing your

work in public spaces with

remits other than art. “Does the

artist share their rawest, most

controversial, provocative and

boundary breaking work with

viewers who really want to relax

with a cup of tea? And, as an

artist, does having your creations

displayed next to a plate of cake

and biscuits belittle it?”

Marten Röstel, manager

of the Grant Bradley Gallery

(www.grantbradleygallery.

co.uk), believes there’s a very

real risk of the art “being

demoted to something that’s

merely decorative, rather than

contemplative. Showing work in

a gallery gives an artist and their

work a credibility that’s lacking

in a café. People do judge art,

and its makers, in relation to its

surroundings, whether they’re

consciously aware of that or not.”

The main difference, Marten

explains, is that “when people

come into an art gallery, they’re

mentally prepared. They’ve

made a conscious decision to go

and see art and absorb it. In a

gallery, the setting, the lighting,

is all geared towards the art. For

potential buyers there’s a level

of assurance and trust.”

Despite this, Rosie is a

firm believer in the power

of encountering art without

forewarning. “Discovering art

when you don’t expect to see

it leaves you open to experience

it as it truly affects you. In

environments where you know

you’ll find art, you’ll already have

preconceptions about how you

should feel about it, or what the

artist is trying to say.”

But, she warns, you’re likely to

spend less time taking in artwork

shown in your average street.

“You might feel embarrassed

to stand and ponder sculptures

hanging from a tree, while if

these were in a gallery you

Left to right: Rosie McLay

has a studio in a disused

police station; art lovers

at Antlers with Anima

Mundi’s five-metre long

drawing; ’Evenfall’ by

Jody Thomas at The

Oxo Tower Restaurant,

London; the light and airy

Leyden Gallery; The Crazy

Fox café with artworks.

Displaying your art

Mounting

your work

The mount gives a picture more

presence, offers an impression of

value and creates a feeling of depth. It

helps to protect the image from possible

environmental factors such moisture or

humidity, allowing the print to breathe

and preventing damage through

contact with the glass.

Kevin Lucas

When people come into a gallery

they’re prepared. They’ve decided to

see art and absorb it. The setting, the

lighting, is geared towards the art.

PHOTOGRAPH:

ANTLERS GALLERY/NOEL DEASINGTON

PHOTOGRAPH:

LEYDEN GALLERY

PHOTOGRAPH:

JUDY DARLEY

PHOTOGRAPH:

GRANT BRADLEY GALLERY