Island Time  showcases the work of the Scottish artist, Sophie Morrish. The exhibition is drawn from the decade 2007-17, to reflect the central themes of her diverse output during that period, when Morrish lived and worked on North Uist in the Outer Hebrides.  Morrish’s work of this decade is characterized by her imaginative interaction with the landscape of the remote coastline of North Uist. Acknowledging the realities of chance and synchronicity (‘meaningful coincidence’), her work emerges from prolonged acts of close attention to the events and objects of the natural world around her.  Walking, beachcombing, photography and collecting – feathers, carcasses, bones, pebbles, egg fragments, seaweeds, beached flotsam – are her principal means to an intense primary engagement with the dynamic actualities of life and death on the shore of the world.  Her re-working and arrangement of these media and materials in beautiful and meticulous drawings, paintings, photographic displays and spectacular arrays of natural objects are rich with ontological, taxonomical, political and aesthetic implications. Morrish turns our gaze back to the natural world and re-defines our deepest connection to it.  The exhibition combines photography, natural object arrays, drawings and sculptural works in a deeply coherent and constantly thought-provoking installation of discrete works.  Mel Gooding,  July 2018
       
     
Constellation (After Fire), 2018
       
     
Constellation (After Fire), 2018
       
     
Ground floor gallery
       
     
P8030104.jpg
       
     
Violent Beauty (i), 2017-2018
       
     
Violent Beauty (ii), 2017-18
       
     
Violent Beauty (iii), 2017-2018
       
     
Violent Beauty (iv), 2017-18
       
     
Violent Beauty (v), 2017-18
       
     
11 days, 2015
       
     
The Visible and the Invisible, 2010
       
     
As We Are Now (i), 2018
       
     
Oceanic, 2015
       
     
Ebb-Tide Series, (Tidelines) 2017
       
     
Ebb-Tide Series, (Tidelines), 2017
       
     
ebb tide grid.jpg
       
     
first floor gallery
       
     
Hebridean Sea Sequence (i), Towards St Kilda from North Uist, 2013
       
     
Sea towards st.Kilda group.jpg
       
     
Hebridean Sea Sequence (ii), Towards Uist from St. Kilda, 2013
       
     
The Sea towards.jpg
       
     
IMG_1787.jpg
       
     
Sea-formed, 2017
       
     
 upper gallery
       
     
Twelve Hour Shift, 2016
       
     
12hr2.jpg
       
     
North Atlantic Drifter, 2015
       
     
North Atlantic Drifter, 2015
       
     
North Atlantic Drifter, 2015
       
     
Evening light from Kyles beach, 2013
       
     
 ‘The making of ‘Biomass’
       
     
Boverview small.jpg
       
     
  Island Time  showcases the work of the Scottish artist, Sophie Morrish. The exhibition is drawn from the decade 2007-17, to reflect the central themes of her diverse output during that period, when Morrish lived and worked on North Uist in the Outer Hebrides.  Morrish’s work of this decade is characterized by her imaginative interaction with the landscape of the remote coastline of North Uist. Acknowledging the realities of chance and synchronicity (‘meaningful coincidence’), her work emerges from prolonged acts of close attention to the events and objects of the natural world around her.  Walking, beachcombing, photography and collecting – feathers, carcasses, bones, pebbles, egg fragments, seaweeds, beached flotsam – are her principal means to an intense primary engagement with the dynamic actualities of life and death on the shore of the world.  Her re-working and arrangement of these media and materials in beautiful and meticulous drawings, paintings, photographic displays and spectacular arrays of natural objects are rich with ontological, taxonomical, political and aesthetic implications. Morrish turns our gaze back to the natural world and re-defines our deepest connection to it.  The exhibition combines photography, natural object arrays, drawings and sculptural works in a deeply coherent and constantly thought-provoking installation of discrete works.  Mel Gooding,  July 2018
       
     

Island Time showcases the work of the Scottish artist, Sophie Morrish. The exhibition is drawn from the decade 2007-17, to reflect the central themes of her diverse output during that period, when Morrish lived and worked on North Uist in the Outer Hebrides.

Morrish’s work of this decade is characterized by her imaginative interaction with the landscape of the remote coastline of North Uist. Acknowledging the realities of chance and synchronicity (‘meaningful coincidence’), her work emerges from prolonged acts of close attention to the events and objects of the natural world around her.

Walking, beachcombing, photography and collecting – feathers, carcasses, bones, pebbles, egg fragments, seaweeds, beached flotsam – are her principal means to an intense primary engagement with the dynamic actualities of life and death on the shore of the world.

Her re-working and arrangement of these media and materials in beautiful and meticulous drawings, paintings, photographic displays and spectacular arrays of natural objects are rich with ontological, taxonomical, political and aesthetic implications. Morrish turns our gaze back to the natural world and re-defines our deepest connection to it.

The exhibition combines photography, natural object arrays, drawings and sculptural works in a deeply coherent and constantly thought-provoking installation of discrete works. Mel Gooding, July 2018

Constellation (After Fire), 2018
       
     
Constellation (After Fire), 2018

Burnt Animal bones on board, 125 x 185 x 7cm

Arranged on board, the surviving evidence of an inherited collection of animal skeletons*, burnt by the artist as an act of liberating transformation, (emancipation from taxonomic ordering / storage).

(*Various wild and domestic species discarded by a scientist friend of the artist, when returning to the mainland after decades living on Uist. Note: Specimens considered of significance had previously been dispatched by their original collector to the Natural History Museum in London).

Constellation (After Fire), 2018
       
     
Constellation (After Fire), 2018

Detail

Ground floor gallery
       
     
Ground floor gallery
P8030104.jpg
       
     
Violent Beauty (i), 2017-2018
       
     
Violent Beauty (i), 2017-2018
Violent Beauty (ii), 2017-18
       
     
Violent Beauty (ii), 2017-18
Violent Beauty (iii), 2017-2018
       
     
Violent Beauty (iii), 2017-2018
Violent Beauty (iv), 2017-18
       
     
Violent Beauty (iv), 2017-18
Violent Beauty (v), 2017-18
       
     
Violent Beauty (v), 2017-18
11 days, 2015
       
     
11 days, 2015

Field Vole Skulls collected from Short-eared Owl pellets

Skulls, Plywood, acrylic paint, 23 x 23cm

The Visible and the Invisible, 2010
       
     
The Visible and the Invisible, 2010

Graphite on Fabriano Artistico paper, 56 x 76.5cm

As We Are Now (i), 2018
       
     
As We Are Now (i), 2018

Digital pigment print on Hahnemuhle Photo Rag ultra smooth, 305gms 60 x 60cm (edition of 20)

Oceanic, 2015
       
     
Oceanic, 2015

Various Cetacean bones collected by the artist, arrayed. Digital pigment print on Hahnemuhle Photo Rag, 308gms 24.5 x 48cm (edition of 20)

Ebb-Tide Series, (Tidelines) 2017
       
     
Ebb-Tide Series, (Tidelines) 2017

20 Digital pigment prints on Hahnemuhle Photo Rag, 308gms 21 x 29cm each (edition of 5)

Ebb-Tide Series, (Tidelines), 2017
       
     
Ebb-Tide Series, (Tidelines), 2017

Detail

ebb tide grid.jpg
       
     
first floor gallery
       
     
first floor gallery
Hebridean Sea Sequence (i), Towards St Kilda from North Uist, 2013
       
     
Hebridean Sea Sequence (i), Towards St Kilda from North Uist, 2013

7 Digital pigment prints on Hahnemuhle Photo Rag, 308gms 21 x 29cm (edition of 5)

Sea towards st.Kilda group.jpg
       
     
Hebridean Sea Sequence (ii), Towards Uist from St. Kilda, 2013
       
     
Hebridean Sea Sequence (ii), Towards Uist from St. Kilda, 2013

7 Digital pigment prints on Hahnemuhle Photo Rag, 308gms 21 x 29cm (edition of 5)

The Sea towards.jpg
       
     
IMG_1787.jpg
       
     
Sea-formed, 2017
       
     
Sea-formed, 2017

120, Gold painted casts of Kelp holdfasts, Dimensions variable

 upper gallery
       
     
upper gallery
Twelve Hour Shift, 2016
       
     
Twelve Hour Shift, 2016

Graphite on Hahnemuhle Bamboo Fine Art paper, 21 x 29.7cm

12 one-hour drawings, tracing the outline of every piece of circular plastic found on a single beach, on one walk

12hr2.jpg
       
     
North Atlantic Drifter, 2015
       
     
North Atlantic Drifter, 2015

Birch trunk, felled by a Beaver. Flotsam collected by the artist. Dimensions variable

North Atlantic Drifter, 2015
       
     
North Atlantic Drifter, 2015
North Atlantic Drifter, 2015
       
     
North Atlantic Drifter, 2015
Evening light from Kyles beach, 2013
       
     
Evening light from Kyles beach, 2013

Digital pigment print on Hahnemuhle Photo Rag, 308gms 21 x 28.8cm (edition of 20)

 ‘The making of ‘Biomass’
       
     
‘The making of ‘Biomass’

(A time-lapse film by René Jansen, 2015) ‘Biomass (NU20072014)’ - Commissioned by ATLAS Arts, as part of Broad Reach – a two year curatorial residency at Taigh Chearsabhagh

basement gallery

Boverview small.jpg