Tag Archives: Scotland



Govanhill Baths Community Trust

99 Calder Street, G42 7RA Glasgow, United Kingdom

Preview: Thursday 16th June 6:00 – 9:00pm
Open: 17th – 25th June (Thurs – Sat each week)
Weekdays: 12:00noon – 6:00pm
Saturday: 10:00 – 1:00pm

This exhibition, which is part of Print Festival Scotland, showcases 5 artists who share a contemporary and diverse approach to printmaking. For this show the artists have taken over the Slipper Baths within The Govanhill Baths, adorning each cubicle with a selection of work that reacts to the space through an array of styles, techniques and materials.

Nicola Massie (b. Aberdeen) currently lives and works in Glasgow specialising in printmaking and sculpture. Since graduating from Painting and Printmaking at The Glasgow School of Art, she has received the Glasgow Print Studio Prize, RGI New Graduate Award and was nominated for the Saatchi New Sensations Prize.

Andreas Behn-Eschenburg (b. Zürich) graduated from Painting and Printmaking at the Glasgow School of Art (2014), and continues to live and work in Glasgow. Andreas investigates the artist’s agency and deconstructs the traditions of painting into elements that are then reassembled in other media as installations within a space.

Fionnuala McGowan (b. Belfast) is another Glasgow based artist, who explores the boundaries of printmaking through creating sculptural prints. She was a recipient of the Glasgow Print Studio prize (2014), was featured in the summer 2015 edition of Printmaking Today and completed a residency in Frans Masereel Centrum, (Belgium, 2014).

Dickie Webb (b. Oxford) migrates between North and Southern Hemispheres, operating from a nomadic studio and artist residencies – SNEHTA, ACSL, Edinburgh Sculpture Workshops and Chisenhale Art Place. Recent exhibitions include Early Warning – & Model, PNEM, Netherlands, Things Are Different Now – Art Athina and Beyond Tinted – MAMY, Armenia.

David Farrar (b. Oxford) is a Glasgow based artist whose work focuses on the relationship between form and function. He has exhibited internationally, most recently in The National Original Print Exhibition (London) and has attended residencies at Frans Masereel Centrum (Belgium), The Artist House in St. Mary’s College (USA) and VCCA (USA).




One Action Ones Actions Poster




An Art Installation By Dickie Webb

Exploring A Sites Relationship With Community

2nd June 2013 – 11am-4pm

HUT 64

Cultybraggan Camp

Comrie – Perthshire.

 One Action, Ones Actions is a new work by Edinburgh based artist Dickie Webb.  The interactive sculpture, installed within the Cultybraggan Camp near Comrie, Perthshire responds to the sites history and seeks to visualise the ongoing relationship to the nearby community of Comrie.

On the 2nd of June 2,000 bouncy balls will fall from the centre of Hut 64, an A listed Nissen Hut first used to house Prisoners of War in WWII.  The 2,000 represents the local population, individuals which form a community.  The movement of the bouncing balls through the space highlights their individual journeys.  These objects interact with mobile structures and stationary balls present within the confines of Hut 64.  The individual balls start to operate as a whole rather than isolated entity as more of them enter the space.  It is this interplay of time and motion of objects that One Action, Ones Actions explores.  An unknown performance choreographed by chance and prior actions.



Cultybraggan Camp is currently owned and operated by the Comrie Development Trust (CDT).  It was first used as a prisoner of war (PoW) camp during WWII housing different levels of German and conscripted soldiers.  Since WWII the camp has seen a variety of uses Army Training centre, Royal Observer Corps (ROC) when a nuclear bunker was built on the site and also as a Regional Government Headquarters.  The local community benefits from the regeneration of the camp by the opportunities for small businesses, sports and recreation areas and renewable energy biodiversity strategies.  One Action, Ones Actions is part of an Open Day organised by CDT celebrating the past, present and future of Cultybraggan.


Dickie Webb – Within my work I try to echo human qualities that are present in discovered spaces; anthropomorphising vacated structures and overlooked objects.  By creating unique forms and sensory-based installations I consider what is past the obvious, discovering hidden potential within these objects and spaces.

I am currently preoccupied with whether it is possible to create a heterotopia within a liminal space?  Installing metaphorical objects within site-specific spaces creating suggestions of somewhere or nowhere, allowing the viewer to move between the real and the virtual.  These heterotopias transport the audience from the here and now, re-engaging the viewers with prior knowledge to complete the story.




Kilmahew / St Peter’s
have your say here

Artists impression of refurbished seminary chapel (Image: James Johnson)

As an ongoing supporter, you will know that NVA is a registered environmental arts charity that was established over twenty years ago to protect and preserve the natural and built heritage of Scotland.  Over the past few years we have been working on the Kilmahew / St Peter’s project, with local people and organisations, to find a permanent solution for the derelict St Peter’s seminary buildings and the surrounding Kilmahew Estate, situated by the village of Cardross.  The seminary was designed and built in the 1960s Modernist style and is Category A listed.  However, despite its protected status and international architectural significance, it has been abandoned for over twenty-five years.  The buildings are in a dangerous state, and the neglected woodlands overgrown with invasive species and soon will be unable to support native flora and fauna.

St Peter’s seminary in its current state

In February 2013, a planning application was submitted to Argyll & Bute Council for a proposal that will partially restore the buildings and carry out the necessary conservation repair works to prevent further deterioration.  Works will also be undertaken in the wider estate to re-establish the semi-ancient Kilmahew Woodland and original path networks, and create a modest new building within the original Victorian walled garden that will act as the social hub for the site. The consolidated ruin and importantly the wider landscape works will establish event spaces that will host an annual programme of heritage, learning, cultural (public art, events, performances) and environmental activities – bringing life back to the estate and creating a valuable community asset.

We need your help to make all this happen. As we get closer to gaining the financial and political support necessary for this ambitious project it is vital that the views of as many individuals and groups as possible are expressed (residents, heritage/cultural/arts organisations, public bodies and agencies, interested individuals, community groups, etc).
Please help to save this historic estate and contribute to the project by taking ten minutes to complete a short survey which can be accessed here before Friday 3rd May 2013.

Funds have already been secured to purchase the site, and Historic Scotland has awarded their maximum grant towards the restoration costs.  We are currently working with key partners Heritage Lottery Fund and Creative Scotland, and a number of trusts and foundations, to secure the remaining funds.

Participants in Invisible College activities June 2012 (photo: Neil Davidson)

The survey is being managed by EKOS, an independent organisation, who will analyse and prepare a report that will be used to support the Business Case for the project.   All responses are confidential and a good response rate will help us to build a strong case and help identify what people want to see happen at the estate.

For more info on NVA and the project go to the following websites

For queries about the survey contact NVA on 0141 332 9911 or EKOS on 0141 353 1994.

We hope that you are able to spend ten minutes to complete the survey, and thank you in advance for your support.

First referenced in the 17th century by the natural philosopher and scientist Robert Boyle, the concept of The Invisible College was initiated by a group of intellectuals dedicated to furthering knowledge through experimental investigation. It was described as an “institution without walls” with no fixed home or declared identity.

Nearly four centuries later, the idea of the college is given a new twist with a research network that connects academics, educationalists, contemporary artists and a wide range of individuals.

Live research is being led by different arts & humanities disciplines each year including geography, history, social anthropology, environmental art, landscape architecture, architecture and philosophy. It is using the woodlands and the partially ruined form of St Peter’s Seminary as a new centre of learning that is fluid and adaptive in its structure and programme.

The research follows an inspiring programme of seminars, talks, research projects, debates and creative commissions. Operating as a flexible learning system, it is building creative connections between diverse communities (academic, artistic, local, national and international). Breaking away from traditional higher education models, research is undertaken with individuals from the across the academic spectrum, from professorial academics to local primary school children.

Each summer the public is able to take part in cultural activities that bring the previous season’s research to life through events, installations, performance, concerts, exhibitions and publications. The Invisible College is publishing its findings here, to a wide audience, demystifying the academic world and revealing dynamic new thinking that refreshes our understanding of and insight into the world around us.

Supported by Creative Scotland. Visit