Venice Biennale 2017 near the Giardini

Venice Biennale 2017

Venice Biennale 2017

A great trip to Venice in October to catch the 2017 Venice Biennale in the Giardini and the Arsenale.  The Giardini is a long established exhibition site and many countries have a permanent pavilion here.  There is also a major site for selected artists in the Giardini.  The Arsenale (“arsenal”) is the old dock area of Venice, and a further  exhibition featuring selected artists is staged in the spectacular long building once used for rope making.   The year the exhibition was curated by Christine Macel, curator of the Pompidou Centre,  Paris.  The focus was on community and communication.

I liked the fact that in the Venice Biennale 2017 the human body was  acknowledged as  medium of expression.  The extraordinary anatomical constructs of Piny are one example.  The stitched and padded “skins” by Touloub is another.  Marwan paints huge distorted portraits and Firenze’s semi abstracts show the human figure in a specific space.  Eileen Quinian photographs her own body and creates abstract and fragmented images.  Zec’s installation in a nearby church was a moving example of how traditional figurative art can be very relevant today.  Tracey Moffat in the Australian Pavilion has an installation of 10 large photographs entitled “Body Remembers”.  A woman returns to an isolated ruined house in the Australian outback.  The title is inspired by the poem “Body, remember” (1918) by Greek poet Cavafy – “an exhortation to remember the power of desire and passions to do with forbidden love”.

Many of the exhibits focused on hand made work, such as Lanceta and Walther, who respectively work with weaving and stitching as forms of expression.  Other makers such as Mark Bradford, in USA pavilion, made his huge pieces mainly from the papers used in hair salons to dye and tint hair.  Bradford worked as a hair stylist before becoming an artist.


Venice Biennale 2017 Piny


Venice Biennale 2017 Lanceta


Venice Biennale 2017 Walther


Venice Biennale 2017 Touloub


Venice Biennale 2017 Tracy Moffatt


Venice Biennale 2017 Marwan


Venice Biennale 2017 Firenze Lai

Firenze Lai

Venice Biennale 2017 Zec



Venice Biennale 2017 Mark Bradford


Venice Biennale 2017 Eileen Quinian


Palace House Newmarket

Society of Equestrian Artists Summer Exhibition, Palace House, Newmarket

The Summer Exhibition of the Society of Equestrian Artists

at the National Heritage Centre  for Horseracing & Sporting Art . in Newmarket

The exhibition coincides with Europe’s Premier Midsummer Sale at Tattersalls and The Moët & Chandon July Festival at Newmarket Racecourse
I will have two pieces in this exhibition and am thrilled to be showing work in this beautiful venue.
Silver Beauty mixed media on paper Abstract Horse oil on canvas












The Family oil and paint on card

Cut the Mustard Summer Exhibition 10th June to 24th August, 2017

Grey Silver mixed media on paper The Family oil and paint on card


Cut the Mustard is a private gallery, representing 60 different artists, makers and jewellery designers.   It is owned and run by photographer Barry Young, and jeweller Lisa Rothwell-Young.  In their words

“We run 5 or 6 different exhibitions each year, alongside a gift area and our jewellery room.  Our artists sell their work in the gallery for the same as they would via their own website or studio (there are no inflated prices here) just beautiful work (ceramics, sculpture, glass, printmaking, textiles, paintings, photography, wood etc) and a friendly welcome.”

We’d love you to come and visit us in the pretty, former mill town of Langholm, approx 20 minutes from junction 44 of the M6.  We’re pretty central, about 1.5 hours from Glasgow, Newcastle upon Tyne, Edinburgh and the South Lakes.”

I shall be exhibiting originals and fine art prints in this exhibition.



Racing Canter Black horse charcoal drawing lo res

Diana Hand, resident artist at Creative in Callander Summerfest 2017

Canter Black horse charcoal drawing lo res MUGI have been invited to show my work at the Creative in Callander Summerfest, Stirlingshire.

There will be a selection of prints, cards, calendars and mugs for sale, as well as copies of my

book “Draw Horses in 15 Minutes”.  This event runs from 15th July to 29th July, 2017.

Further details available soon.

To accompany this exhibition I shall be teaching at a drawing workshop on 29th July, 2017.

Running horses wash on paper

“The Horse in the Heart” exhibition of horse drawings, Edinburgh, October 2016

Exhibition at Whitespace Gallery, Howe Street, Edinburgh

Scottish-based artist Diana Hand has been drawing horses all her life.  She loves to draw “straight from the hip” – very fast and spontaneously, as a direct expression of the unconscious.

But she has been backing this up with some serious anatomical study as well.  “Most classes focus on the human model, but our bones and muscles are so similar in many respects”, she says.  Diana studied last summer at the Ruskin School of Drawing, Oxford, and with Alan McGowan in Edinburgh to develop a sound knowledge of human anatomy, which she then supplemented by close study of the equine form.

For this exhibition she has worked on a large scale, and some of the drawings are 1350 x 1000 mm. in size.  “I bought large sheets of strong paper from a specialist supplier in London and I found I enjoyed working on this scale.  I am used to being around horses and this was almost as good.”

One of her aims was to find an approach to drawing horses that was not directly figurative and also more than a rapid sketch. A lucky moment in the studio when gesso was accidentally spilt onto tissue paper, creating mysterious shapes and textures,  led her to discover a surreal and dream-like world of imaginary horses from the past.  This relates to the strong unconscious appeal that the horse continues to have for her, and, she believes, for many humans.


Carton #3

“Inside Out and Upside Down” Dunblane Museum Gallery April 2016

Carton #1

Carton #1

The anatomy of a cardboard box

In an exhibition of new drawings at Dunblane Museum Gallery, I explore the shapes, shadows and corners suggested by everyday packaging material.  This work is based on my interest in these discarded fragments of our contemporary life, and the associations and stories, not to mention the beautiful shapes and shadows, that I see in these objects.

I am experimenting with a particular approach to making art, consciously moving from concept to making and back again, as described by Donald Schon in his book “The Reflective Practitioner”.  The trigger in this case is a piece of packaging material that is quite architectural in nature.  This also picks up on my interest in and research into architectural space, and gives me a framework for the process.

I experimented with Schon’s ideas by shifting between by making drawings of the carton (from different angles, in different media and from different distances)  and pausing to reflect on what I was trying to say and  what was emerging, with reference to my personal reactions and to the work of other artists and writers. I thus tried to bridge the gap between ideas and making, and this is the purpose of the exhibition.  I have discovered that the drawing process gave me much more insight into ideas and that the ideas broadened the range of possibilities and gave me an on-going structure to work with.


Exhibition at Glasgow Art Club

In 2014 I was invited to create new work for a solo exhibition at the prestigious Glasgow Art Club.