red hilldancing blossom 2007
footprints in timejigsaw
the sound of the clydemichaux's mescaline
crow gets the blues
gannets and swanslight through a stained glass window
january landscapesugar bowls
ancestor series - pollock housepenannular brooch

Sheila Barr was born in Glasgow and studied Architectural Glass at Edinburgh College of Art. Having moved to Arran Sheila's work explores and develops images from the surrounding landscape to express the mood and atmosphere of the island.

Sheila works with hand blown English Antique Glass, and uses the range of vibrant colours to convey the constant changes in quality of light and colour that can be observed on Arran from day to day and through the seasons.

In her architectural panels Sheila aims to create rich, captivating pieces far removed from the traditional expectations of a Scottish landscape.

I studied at the Glasgow School of Art from 1981-1986 under Jack Knox, Jimmy Robertson and Barbara Rae. There was a great emphasis put on expressive painting in the studios, and drawing the figure in the life room. At this time the GSA also had a facility at Culzean [ with Robin Hume as artist in residence] and this was always the highlight of any term. It was here I first really started to look at the West Coast landscape in my work.

Pure painting, the language of forms and colours, and the elegance and simplicity of draftsmanship are my main concerns although I have recently been working in the field of public art and this poses new exciting challenges for me.

Public and Private collections include: the National Portrait Gallery, London; the British Broadcasting Corporation; Culverwell & Co, Edinburgh; Palisade Properties, Glasgow and The West End Window, Ashton Lane, Glasgow.

I have been an enthusiastic photographer since 1988 but having served my sentence as a working pharmacist I changed career when I decided to study photography and digital imaging.

The rapid development of digital imaging technology has enabled the photographer to exercise precise control over the final image which has encouraged me to be more creative and allowed me greater scope to express moods and themes in my images. I hope that this approach blurs the boundaries between photography and art and produces a final image that is unique rather than a photographic record of a subject.

My work is a visual expression of thoughts and ideas both real and imaginary. The images are intended to delve into the subject and resonate with the viewer by stimulating interpretation, evoking emotion, and inspiring contemplation.

I am currently undertaking the first year general course at Duncan of Jordanstone. I have thoroughly enjoyed my first semester and now I am almost at the end of the second semester, which has definitely been more challenging but I feel it has further developed and expanded my creativity.

At the moment I am going through the process of deciding which artistic route I wish to specialise in. Either graphics, textiles, fine art, illustration etc. My passion is working with textiles and hopefully I will gain a place in this department at the end of this semester.

On returning from my Christmas break I was giving a brief which was to design a product for the future. The product could be anything and could be for any year which we desired. Most of my research was looking into geometric shapes and how they could flow nicely when connected together.

My final product was a fridge which had shelves at different angles and had the ability to store any type of food at the right temperature

Whilst studying music at Newcastle University I am exploring various approaches to free improvisation and composition. I work within a wide sonic spectrum, which generally swings between guitar-orientated songs, rhythmic electronica, soundscapes and live improvisation. Much of my current practice revolves around collaboration between musicians and filmmakers.

When asked to make a piece of work for this exhibition, I felt the medium of film would be the best way to capture the landscape in order to musically respond to the area I was brought up in.

This work transcends a single narrative, aiming to juxtapose a traditional love story from the perspective of loss and the narrative of the Clyde through local architecture, materials, shapes and textures.

Why is it that anyone can draw a line but it takes the hand of an artist to make the line into a work of art?

This is just one of many questions I have been turning over in my mind ever since I began to research the concept of Abstract art. I describe my own practice as Abstract, although I could never have proceeded so far without looking at the movements of Automatism and Minimalism.

Nowadays I have been giving a lot of thought to drawing as a medium, without being too conventional. I like to call it markmaking.

My work as a glass artist moves between small scale freestanding sculpture, and large scale commercial architectural glass installations.

My main interest is in the traditional method of glass painting and staining, mixed with the exploration of surface treatments through sandblasting and kilnforming.The themes that inform my work are universal, but frequently deal with issues relating to my sense of belonging, and response to northern light, and the Scottish landscape.

I am particularly interested in documenting themes relating to the rapid physical change currently taking place geographically along the Clyde coastline.

Jack Knox RSA RSW RGI HFRIAS

The renowned Scottish contemporary artist Jack Knox [b.1936] studied painting at the Glasgow school of Art and the Andre Lhote Atelier, Paris.

He was Lecturer in Drawing and Painting at Duncan of Jordanstone College of Art 1965-1981 and Head of the Painting Studios at Glasgow School of Art from 1981-1992.

It was here, as a second year student, that I first met Jack. He entered the painting studios like a tornado and left you swirling. His exuberance and faith in the students under his care was a tremendous source of inspiration to us all. It is this boundless energy and great faith in humanity that lies at the heart of all Jack's work.

Jack Knox is the recipient of numerous awards and has recently received an Honorary degree from Glasgow university.

Rosemary Beaton 2007

After leaving school in 1980 Rod followed in the ancient family tradition of shipbuilding and started working in Kincaid's apprentice school as a "yopper". However as the shipyards closed, Rod soon found himself seeking other work. Possessing some artistic skills he started work in the pioneering Inverclyde District Council's Art Workshop, providing art to the people of Inverclyde.

As the years passed Rod tried his hand at various jobs and in due course an interest in photography developed which now sees him currently working in the NHS as Head of Medical Illustration at Glasgow Dental Hospital and School.

After being invited by a friend to paint a mural in a Port Glasgow Masonic lodge his artistic fires were finally rekindled. Two murals, some paintings and two well received exhibitions later Rod now presents some of his ideas; bringing Inverclyde of the past to the present, for your future enjoyment.

James D Robertson D LITT RSA RSW RGI PAI

"There is no art in what you see. It is what you do with what you see that makes ART."  James Robertson 2007

Studied at the Glasgow School of Art 1950-1955. Senior Lecturer in Drawing and Painting 1975-1996 and Resident Painter 1996-1998, GSA.

Selected awards 1971-2007 include the Cargill Award, RGI; May Marshall Brown Award, RSW; Sir William Gillies Award, RSW; Shell Expro Award;Graham Munro Award, RSW;Scottish Amicable Award, RGI;Scottish Post Office Award, RSA;RSW Council Award;Dunfermline Building Society Prize, RSA and Hon.D Litt., University of Glasgow in 2002.

Corporate Collections include: Alliance and Leicester, London; Bank of England, London;Bank of Japan, London; British Petroleum, London;Clyde Port Authority, Glasgow and United Distillers, Edinburgh.

Many Private Collections in the UK and Abroad include
HRH Prince Philip and HRH The Queen Mother.

The sugar cube was invented by the Greenock sugar manufacturers Tate and Lyle in 1875. It is a timeless innovation still popular today.

My ceramics are a thematic body of work with a quirky realism as a tribute to the sugar cube.

The designs of the sugar bowls were considered by integrating the characteristics of various sugar products to create contemporary functional vessels.

Pamela So is based in Glasgow and North Ayrshire and is of Chinese descent. She draws upon two cultures, to reveal connections between Scottish and Chinese histories.

Her ancestor series, begun during a residency at the Crawford Arts Centre, St Andrews in 2005, was developed for a solo show at the Collins Gallery, Glasgow.

This series transforms Scottish landscapes into mysterious environments featuring the artist?s ancestors.

In Watersongs, Pamela So uses the river and landscape of Inverclyde to reveal the links between China and Scotland through trade, industry and migration.

Craft Metalwork is the term I prefer to use when describing my work. So I suppose Craft Metalworker is what I should be described as.

I acquired my skills as an apprentice mechanical fitter and honed them over 26 years in engineering. With the encouragement and support of family and friends I have taken what was a hobby a step further.

The metals I work with are mainly silver, copper, gold, brass, steel and pewter. Techniques employed include those of the jeweller, silversmith and engineer.

Watersongs allows me to display a variety of work produced over many years using a variety of metalworking techniques.