Fruitmarket Gallery, Edinburgh, Sat 30 Nov-Sat 11 Jan

Reading Victoria Morton’s biography, she has certainly exhibited in some great spaces. Gavin Brown in New York, Sadie Coles HQ in London and Galerie Enja Wonneberger in Germany. The Glasgow-born artist, like so many of her contemporaries, hasn’t shown much in Scotland. Visions for the Future, a four-year project initiated by the Fruitmarket Gallery in 1999 goes some way to address that.

Commissioning work by young leading artists living in Scotland, the programme has included exhibitions of new work by Martin Boyce, Ross Sinclair and Anne Bevan. For this latest instalment, Morton presents a body of new paintings and a sound installation, while Graham Fagen works with video, photography and installation to explore contemporary identity.

Victoria Morton is one of the many Scottish artists who are steadily making names for themselves both here and abroad. After her show at the Fruitmarket, she is taking part in Painting not Painting at the Tate St Ives, which presents the work of Terry Frost along with works by

younger artists. She’s also planning a solo show at the Modern Institute in Glasgow next year.

For her show as part of Visions for the Future, she has made a new series of paintings which include around 12 small works and three very detailed works. In a move from traditional hanging, some of the paintings will be free-standing. ‘There’ll be a sense of a relationship between all the works happening in the space of the gallery that will help to play a part in how you interpret the paintings,’ says Morton. ‘I wanted to make it a more

physical experience for the viewer.’

Morton’s works are highly detailed, bright and fluid. Built up in layers and sections, much of the new paintings have been inspired by medieval art and the



Market, Glasgow, until Sat 14 Dec 0...

After a year-long hiatus. Market is back with a show that serves as a manifesto for the one-room space's stated aims - to encourage and develop artists working in Glasgow's East End. By its nature. Ca/l for Entry is a mixed bag. but that bag is bulging with excellent work.

Norma Thallon shows Nineteen

76 THE LIST 28 Nov—12 Dec 2002

Stag 2002 by Victoria Morton

work of Giotto, focusing on paintings that were made

before perspective was invented. Along with everyday

sources from textures to figurative forms, via conscious and subconscious processing, she creates a series of intriguing compositions.

For Morton, though, the finished result is as important as how the work feels. ‘If you’re going to be standing in front of one of these paintings then you’re going to have a sensation of a living and breathing thing,’ she says. ‘There’ll be things that you recognise and others that you

don’t, but you can spend a lot of time looking at it and be

it}; 1'

New ork by Adinda van’t Klooster

Minute Pose. a series of blurry, ghostly photographs taken with a pinhole camera alongside her own Emergency Pinhole Kit a sliver of silver toil and a tiny pin. Rather more imposing is Mick Peter‘s Black Ejector Seat. an imposing jerry-built contraption that comes off as a cross between a low budget film prop and some half— finished. super-sized Blue Peter project.

Stewart Murray makes lithOgraphs and etchings. some collected in small

engrossed.’ (Helen Monaghan) I See Artbeat (opposite) for details on how to wrn tickets to the private view on Friday 29 November:

publications. All are illustrations with text. featuring monologues. musings and one-liners from a cast of characters that ranges from Big Issue vendors to lunchtime drinkers. Most of these annotated portraits hover between tragedy and comedy. and taken together they become an essay on political issues and people marginalised by the mainstrez-im.

Next to Murray's chattering pieces. Guyan John Porter's Three Imaginary Views are silent. From a distance. these concave discs are views of absolutely nothing but black. Up close. they are textured just enough to Suggest the surface of the moon. In a similarly contemplative mode. Cathy Richmond has made Glass Hand/ed Fork and Scythe. These are just plain beautiful things to look at and. with a simple intervention. Richmond has swapped sturdy for fragile, function for form.

This marks a welcome return. Market has always called attention to artists who might otherwise slip under the radar and Call For Entry proves the spaces worth again. (Jack Mottraml


News from the world of art

TOBY PATERSON, GRAHAM Fagen and Martin Boyce have recently been awarded Visual Artist awards of £15,000 each from the Scottish Arts Council. In recognition of their previous works, the awards are intended to provide a period of time for exploration and experimentation. Boyce is currently showing a major new work at Tramway in Glasgow, and Fagen’s solo show opens at Edinburgh’s Fruitmarket Gallery on 30 November.

THE DATES HAVE NOV. BEEN confirmed for next year's Glasgc‘.'. Art Fair. Now in its eighth ear. t'ie fair will take up resider‘c; George Square from Thursday IL? April until Sunday 13 ADY'LI 2003. Ticketing information \.-.':II be available On \.-.n.-.r\.'": T'rc'“ January

ARTIST COLLECTIVE Djinniditto will be presenting an Edinburgh-wide projected exhibition in December. Featuring the work of over 100 artists over a ten-week period, the works will be projected onto some of the city’s large glass fronted buildings including the Festival Theatre, the Point Hotel, the Scotsman Building and the Tun Bar. See next issue for dates and further information.

Visrons for the Future. the six—part series of work by leading Scottish X'lSllE‘tI artists begins its fourth instalment at the Fruitmarket Gallery. :30 November 200?, and runs till i 1 January 2003. We have ten double passes to give away to the private View on 29 November 200? from

6.30 8.30pm. sponsored by lennent's Lager. The first ten people to send an email marked VISIONS to wril be in the door. Deadline as noon on 29 November 2002. Please remember to include a daytime telephone number. Entrants must be over 18 years of age.