{"id":20552,"date":"2021-12-28T17:19:53","date_gmt":"2021-12-28T17:19:53","guid":{"rendered":"https:\/\/newbloodart.com\/blog\/?p=20552"},"modified":"2022-07-06T12:28:04","modified_gmt":"2022-07-06T12:28:04","slug":"outside-in","status":"publish","type":"post","link":"https:\/\/newbloodart.com\/blog\/outside-in\/","title":{"rendered":"Outside In"},"content":{"rendered":"\n

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‘To the Same Shore’<\/a> by Afzal Shaafiu, \u00a31600<\/figcaption><\/figure><\/div>\n\n\n\n
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‘Floral Window for a Nymph’<\/a> by Sophie Baker, \u00a3800 <\/figcaption><\/figure><\/div>\n\n\n\n

What do a dog, a painting, and a pot of flowers have in common? Many of us are familiar with how nonhuman company can put us back in touch with ourselves, recontextualising our attunement to our environment. The popularity of houseplants before and during lockdown is no passing fad, but our predominantly urban population reconnecting with nature. The ritual of care, the reward of growth: these are the pervasively inviting characteristics of living with plants. And their aesthetic appeal of course: The Guardian<\/a><\/em>\u2019s<\/a> ‘houseplant of the week’ series features delectable species such as the variegated monstera, \u2018the picasso of houseplants\u2019. There is increasing documentation on the benefits being surrounded by expansive vistas and splashes of colour has for our mental and physical health. <\/p>\n\n\n\n

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‘Artificial Lighting (Houseplant 1)’ <\/a>by Ed Saye, \u00a32250<\/figcaption><\/figure><\/div>\n\n\n\n

Scottish painter Peter Doig\u2019s landscapes apprehend nature from the midst of its dense forms \u2013 with phenomenal popularity and critical success: they are among the highest selling contemporary paintings in the world. David Hockney\u2019s blockbuster exhibitions at the Royal Academy and Tate in recent years, featuring the English seasons and his native Yorkshire landscape, prove that the appetite is strong for art that renews our perception of the natural world. It\u2019s the beginning of the new year, in the heart of winter: maintaining contact with colour and energy doesn\u2019t have to include growing green fingers, or access to a museum. <\/p>\n\n\n\n

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‘Study for a Landscape (S)’<\/a> by Niall Stevenson, \u00a3790<\/figcaption><\/figure><\/div>\n\n\n\n

Maybe you’ve heard of forest bathing<\/a>, a Japanese well-being practice based on the premise that time spent in nature allows for the opening up of the senses, making for a profoundly rejuvenating experience: distilling an idea most of us intuitively hold, though can’t always put into practice. In our recent interview with Tokyo-born artist Emiko Aida<\/a>, she reflected on her relationship to nature living and working in London. She also expanded on being between cultures and nature, and the foundational role of the latter in Japanese life, spirituality, and art \u2013 as well as in her own practice. In moving to Dundee from London, swapping daily encounters with strangers for those with winding paths and tangled leaves, Nicola Wiltshire<\/a> <\/a><\/strong>told us<\/a> she discovered a surprising continuity in the emotional themes she explored in her painting. <\/p>\n\n\n\n

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‘Sun Dance<\/a>‘ by Nicola Wiltshire, \u00a3375<\/figcaption><\/figure><\/div>\n\n\n\n

Those famous flowers of art history, Monet\u2019s water lilies and Van Gogh\u2019s sunflowers, marked major turning points in the representation of subjectivity <\/strong>on the canvas. In this way they’re akin to the original evolution of flowers: nature\u2019s innovation of blooming, colourful buds was a major turning point in the diversification of plant life, and the possibility of all life on the planet. This range of contemporary work by NewBlood artists \u2013 of houseplants, flowers, landscapes, and abstractions, which won’t wilt \u2013 bring the outdoors in. The breadth of styles displayed here shows the inspiration found in the dynamism of the natural world, resulting in works with a sense of the infinite and the intimate alike. Enjoy browsing this garden earthly of delights. <\/p>\n\n\n\n

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‘A Tiled Landscape’<\/a> by Tyler Watson, \u00a3380<\/figcaption><\/figure><\/div>\n\n\n\n

The montserrat, or cheese plant, is graced with a sense of drama in this striking backlit portrait of the plant by Ed Saye (above). Tyler Watson plays with perspective in his painting of an interior, foregrounding the geometric play of leaves against floor tiles in a fresh palette. <\/p>\n\n\n\n

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‘Winter Flowers’<\/a> by Julia Blackshaw, \u00a3250<\/figcaption><\/figure><\/div>\n\n\n\n
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‘North Uist Still Life’<\/a> by Yasmin Davidson, \u00a3750<\/figcaption><\/figure><\/div>\n\n\n\n

\u2018Winter Flowers\u2019 are a gift in Julia Blackshaw\u2019s typically tender portrait. Nicola Wiltshire and Yasmin Davidson are both Scotland-based, and inspired by the country’s landscapes. They also both bring an element of ritual to their work: the layering of Yasmin\u2019s collaged elements; Nicola\u2019s process of making her own canvases and paints. The bold oranges and reds of \u2018North Uist Still Life\u2019 and \u2018Sun Dance\u2019 (above) exude warmth. <\/p>\n\n\n\n

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‘Flowers on Black’<\/a> by Anyck Alveroz Kerloch, \u00a31250<\/figcaption><\/figure><\/div>\n\n\n\n

Anyck Alveroz Kerloch delights in the romance of flowers extracted from their natural habitat, using a black backdrop to capture the sensuousness of form and colour. <\/p>\n\n\n\n

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‘Garden’<\/a> by Glib Franco, \u00a31830<\/figcaption><\/figure><\/div>\n\n\n\n
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‘Supernature’<\/a> by Sean Madden, \u00a3600<\/figcaption><\/figure><\/div>\n\n\n\n

A glance into nature is a refreshing immersion in Glib Franco\u2019s \u2018Garden.\u2019 Sophie Baker\u2019s glowing \u2018Floral Window for a Nymph\u2019 (above) is a portal into enchanted zones in serene green. Fantasy, delight, magic are the key in Sean Madden\u2019s wax-cast bronze sculpture \u2018Supernatural\u2019. <\/p>\n\n\n\n

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‘Nature. Just the Way You Want Me To Be’<\/a> by Malgorzata Lapsa-Malawska, \u00a3220<\/figcaption><\/figure><\/div>\n\n\n\n

Perhaps you\u2019d enjoy the winter light  \u2013 or lack thereof \u2013 reflected back at you? This imbued atmosphere by Ma\u0142gorzata Lapsa-Malawska is created through the watery imprinting of ink. Alternatively, Niall Stevenson \u2018Study for a Landscape\u2019 looks forward to spring: the spaciousness of the outdoors is introduced through the painting\u2019s airy composition and the optimism of light tones. <\/p>\n\n\n\n

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Fast Waters by Orla Kane, <\/strong>\u00a3450<\/figcaption><\/figure>\n\n\n\n

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Autumn Hydrangeas from the Garden by Sophie Fraser, \u00a3680<\/figcaption><\/figure><\/div>\n\n\n\n
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‘Juniper Season’<\/a> by Emma Louise Grady, \u00a3750<\/figcaption><\/figure><\/div>\n\n\n\n

The compounded potentiality of the bud fuels this abstract work on a large scale by Agata Czeremuszkin-Chrut, \u2018Flowers 3\u2019. In \u2018Juniper Season\u2019, Emma Louise Grady transfigures nature\u2019s microcosm into a decorative display: could it be the sub-vegetative level of the microbial that inspires the gorgeousness of brushwork rendering these forms? Afzal Shaafiu harnesses the vitality that all of these works emanate into a mosaic of organic and inorganic forms: nature painting for the digital age, lushly coloured like the currents of rock pools. Here the introspective surface of the physical world is experienced omni-directionality \u2013 as if music, enveloping the viewer. <\/p>\n\n\n\n

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Cotham windows by Gabrielle J Moore, \u00a3475<\/figcaption><\/figure><\/div>\n\n\n\n
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Tranquil Nights by Nina Stallwood, \u00a3790<\/figcaption><\/figure><\/div>\n\n\n\n

Words by Maggie <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

What do a dog, a painting, and a pot of flowers have in common? Many of us are familiar with how nonhuman company can put us back in touch with ourselves, recontextualising our attunement to our environment. The popularity of houseplants before and during lockdown is no passing fad, but our predominantly urban population reconnecting […]<\/p>\n","protected":false},"author":3,"featured_media":20617,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","footnotes":""},"categories":[325],"tags":[],"class_list":["post-20552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-curated-collections"],"acf":[],"_links":{"self":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/20552","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/comments?post=20552"}],"version-history":[{"count":26,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/20552\/revisions"}],"predecessor-version":[{"id":22366,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/posts\/20552\/revisions\/22366"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/media\/20617"}],"wp:attachment":[{"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/media?parent=20552"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/categories?post=20552"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newbloodart.com\/blog\/wp-json\/wp\/v2\/tags?post=20552"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}