Glasgow Print Studio</a> is delighted to host a Hayward Touring exhibition by one of the most important and influential artists of the late twentieth century. <a target="_blank" href=https://www.mutualart.com/Exhibition/Louise-Bourgeois--Etchings/"/Artist/Louise-Bourgeois/998ED717B436BD70">Louise Bourgeois</a> (1911 - 2010) is best-known for her powerful emotionally charged works exploring the unconscious, desire and the body. The exhibition comprises of Bourgeois’ Autobiographical Series and a set of 11 drypoints. Created towards the end of her seven decade career, these deeply personal prints capture some of the artist’s deepest thoughts, memories and anxieties.</p><p>This French-American artist’s work, whether in sculpture, drawing or printmaking, always maintained strongly autobiographical themes, centering on her own obsessions and vulnerabilities &nbsp;- loneliness, insecurity, anger, sadness, desire.</p><p>Autobiographical Series (1994) captures some of her deepest thoughts and memories, whilst the set of 11 drypoints (all from 1999) brings these anxieties into more abstract territory. Featuring familiar motifs, from the pregnant woman to the cat, the prints in these two series are clearly inspired by her obsessions with the human condition. Womb-like figures, stairs and ladders, feet, long hair, clocks, scissors, bathtubs and a pregnant mosquito all contain charged references to memory, with such titles as ‘Empty Nest’, ‘Paternity’, ‘Please Hang in There’ and ‘Mother and Child’. The print entitled ‘Fear’, as part of 11 drypoints, for example, shows a person crouched inside a triangle that is slowly squeezing her into a tight space. &nbsp;The memory of her mother sewing - the Bourgeois family ran a successful tapestry company - is evoked in ‘Sewing’, in the Autobiographical Series.</p>" />

Louise Bourgeois: Etchings

Sep 23, 2017 - Oct 29, 2017

Glasgow Print Studio is delighted to host a Hayward Touring exhibition by one of the most important and influential artists of the late twentieth century. Louise Bourgeois (1911 - 2010) is best-known for her powerful emotionally charged works exploring the unconscious, desire and the body. The exhibition comprises of Bourgeois’ Autobiographical Series and a set of 11 drypoints. Created towards the end of her seven decade career, these deeply personal prints capture some of the artist’s deepest thoughts, memories and anxieties.

This French-American artist’s work, whether in sculpture, drawing or printmaking, always maintained strongly autobiographical themes, centering on her own obsessions and vulnerabilities  - loneliness, insecurity, anger, sadness, desire.

Autobiographical Series (1994) captures some of her deepest thoughts and memories, whilst the set of 11 drypoints (all from 1999) brings these anxieties into more abstract territory. Featuring familiar motifs, from the pregnant woman to the cat, the prints in these two series are clearly inspired by her obsessions with the human condition. Womb-like figures, stairs and ladders, feet, long hair, clocks, scissors, bathtubs and a pregnant mosquito all contain charged references to memory, with such titles as ‘Empty Nest’, ‘Paternity’, ‘Please Hang in There’ and ‘Mother and Child’. The print entitled ‘Fear’, as part of 11 drypoints, for example, shows a person crouched inside a triangle that is slowly squeezing her into a tight space.  The memory of her mother sewing - the Bourgeois family ran a successful tapestry company - is evoked in ‘Sewing’, in the Autobiographical Series.


Glasgow Print Studio is delighted to host a Hayward Touring exhibition by one of the most important and influential artists of the late twentieth century. Louise Bourgeois (1911 - 2010) is best-known for her powerful emotionally charged works exploring the unconscious, desire and the body. The exhibition comprises of Bourgeois’ Autobiographical Series and a set of 11 drypoints. Created towards the end of her seven decade career, these deeply personal prints capture some of the artist’s deepest thoughts, memories and anxieties.

This French-American artist’s work, whether in sculpture, drawing or printmaking, always maintained strongly autobiographical themes, centering on her own obsessions and vulnerabilities  - loneliness, insecurity, anger, sadness, desire.

Autobiographical Series (1994) captures some of her deepest thoughts and memories, whilst the set of 11 drypoints (all from 1999) brings these anxieties into more abstract territory. Featuring familiar motifs, from the pregnant woman to the cat, the prints in these two series are clearly inspired by her obsessions with the human condition. Womb-like figures, stairs and ladders, feet, long hair, clocks, scissors, bathtubs and a pregnant mosquito all contain charged references to memory, with such titles as ‘Empty Nest’, ‘Paternity’, ‘Please Hang in There’ and ‘Mother and Child’. The print entitled ‘Fear’, as part of 11 drypoints, for example, shows a person crouched inside a triangle that is slowly squeezing her into a tight space.  The memory of her mother sewing - the Bourgeois family ran a successful tapestry company - is evoked in ‘Sewing’, in the Autobiographical Series.


Artists on show

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Trongate 103 Glasgow, UK G1 5HD

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Whistler made drawings using pastel crayons. His early drawings (1860s–70s) were often studies for oil paintings, but from the late 1870s he started to use pastel to produce completed works in their own right.&nbsp;</p><p>The drawings displayed in this exhibition have all been studied and examined as part of the Whistler Pastels Project (September 2022–June 2024). The aim of the research project was to better understand the artist’s methodology and materials.&nbsp;</p><p>The Project revealed much about the materials and methods used by Whistler in his drawings. However, many questions remain.</p><p><br></p>" />
work by Michael Wilkinson</a> develops the artist’s concern with still life painting, both its poignant relationship to transience and its traditional engagement with trickery and humour through the use of trompe l’oeil. His approach can be understood as a kind of meta engagement with the genre. The paintings are elegantly ‘self-conscious’, pointing to the conditions of their making. To produce them, Wilkinson photographed a series of flowers (Dahlia, Lisianthus, Lily, Chrysanthemum) in vases set before blank linen framed in aluminium. These images provided the basis for the paintings, with the linen in the photographs coming to being ‘represented’ by areas of actual blank linen. The material functions both materially and figuratively; it is both the thing itself and its representation. The finished works are also framed in the same style of plain aluminium frame recorded in the paintings.</p><p>Wilkinson uses a technique he describes as fluorochiaroscuro™ in the paintings, embellishing a conventional representational style with fluorescent colours to emphasize the effect of light falling on his various subjects. This heightened effect produces a kind of ‘psychedelic realism’, corresponding to an altered perception of the ordinary. Wilkinson’s interest in still life painting was triggered by the sense of suspended animation he experienced across 2020-2021. He found himself more attuned to domestic objects and had a heightened awareness of the passing of time. The photographs which formed the basis of these works were all taken across autumn and winter 2024, capturing the seasons’ distinctive lighting conditions. The low afternoon sun casts dynamic shadows.</p><p><br></p>" />
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