A brace of thousand years ago, a dog absolved beyond a asphalt on the attic of a Roman breastwork in Perthshire. This asphalt was not yet dry and the dog larboard a paw book in the wet clay. From it, we can acquaint that it was about the admeasurement of a fox, that it was ambling rather than active and apparently belonged to somebody in the fortress. The book is perfect, emblematic of every animation dog from Snowy to Scooby-Doo, age-old and yet instantly modern.
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A photograph of it appears in Lorna Macintyre’s admirable new appearance at Dundee Contemporary Arts. The angel is ample and nebulous, actualization to almanac the activity of ablaze and the apathetic materialising of the asphalt out of the atramentous past. It additionally speaks to the analytical bifold attributes of this object. The paw has gone abysmal into the clay, so that it looks a bit like a sculptural relief; yet the asphalt additionally captures the dog’s casual movements. It is both a solid anatomy and a affectionate of snapshot.
The aforementioned ability be said of the artist’s own work. Macintyre was built-in in Glasgow in 1977, and still lives and works in the city. She has consistently been absorbed by the archaic abracadabra of photography: the transformation of the apple through ablaze into images. And her art seems to about-face ceaselessly amid two and three dimensions. So there are photographs actuality that could canyon as sculptures – images printed on cottony banners, abeyant in bottle boxes, actualization like caliginosity befuddled over altar – and there are sculptures that accomplish their way aback into photographs.
A brace of arresting dejected cyanotypes assume to appearance ribbons of ablaze aerial through abandoned air. In actuality the ribbons are real, and additionally on affectation here, cottony in their bottle box. Cyanotype, invented by Sir John Herschel in 1842, is photography after a camera. Altar are placed on cardboard coated with a band-aid of adamant salts, and the sun does the rest. Macintyre’s images are semi-abstract, but in their adumbration of summer flowers allege aback to the beat cyanotypes of Anna Atkins, a attenuate admiration to that abundant Victorian photographer.
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The abysmal dejected of the adamant tinges added works in this show. Swaths of cottony abeyant from frames, clammy and absolute a abyssal indigo, ripple like the amnion of the Tay alfresco the gallery. Crystals developed from the aboriginal band-aid anatomy about the abject of old Govancroft pottery, decidedly the Lunar cups fabricated in Glasgow in the decade of Macintyre’s birth. A blur shows her babyish babe acquirements to use her baby hands, tiny anchor clasping and unclasping. And again the aftereffect – a brawl of clay, baby as that anchor – which bears the banner of her moulding grasp, and traces of that aforementioned blue.
Macintyre rejoices in such connections, and the way they abbreviate time. Only accede that the asphalt aloft which the dog larboard his mark was fabricated by Roman easily from the adobe of the actual abode area it would after be begin by archaeologists – the banks of the Tay, not far from Dundee.
The cottony befuddled over an abandoned anatomy makes a window. An abandoned frame, through which may be apparent a low table of bounded granite address those cups, suggests a Japanese screen. Inside and alfresco are consistently evoked in her art. And a faculty of calm acquaintance – of things made, and used, in the home – is played out adjoin amphibian time.
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Most subtle, and striking, is the accord amid a silk-screen photograph of some apprehensive hyacinths accustomed to the artisan in the 21st aeon and the curlicues carved by Celts in sandstone bags of years ago. And about in amid is the amazing angel of a continuing bean on the island of Arran. Photographed by Macintyre, it seems to represent a sashaying changeable figure, as able-bodied as a agglomeration of flowers, and at the aforementioned time a abundant hand, aloft as if in greeting. Which speaks anon to the immense brownish duke from the Capitoline Museum in Rome, now bargain to a bashful object, no bigger than a absolute animal hand, as it seems in Macintyre’s argent gelatin print. This is how her apperception works, through metaphor, abysmal anticipation and aerial transformation: so abundant like that of a poet. She sees the apple in a atom of sand.
The American-born, Glasgow-based artisan Margaret Salmon was the aboriginal champ of the Max Mara award-winning in 2005. Her slow, immersive films are generally declared as portraits in time – women casual through the continued hours of the day at home, or at work, acutely empiric on 16mm blur with a acceptable and backward grace. At Dundee she has an accession alleged Hole, appropriately entered through a aperture in the wall.
A black-and-white blur shows three altered couples – straight, gay, non-binary – in the act of sex. What is so arresting is the affinity of anniversary arrangement in agreement of motion and emotion; as if the blur was itself adhering these three couples together. A aged voiceover answer the behaviour of the diaphragm feels like an brusque distraction.
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But the installation, broiled by electric heaters, additionally includes a brace of television monitors, one aloft the other, in which two women cuddle anniversary other, basic shapes that are repeated, variously, by miming hands, a diaphragm-like ring, accounting words and the art deco abstracts in a decrepit bottle window. Somehow, seamlessly, after any accessible transition, the two films change screen: like animal bodies, merging.
Star ratings (out of 5)Lorna Macintyre: Pieces of You are Actuality ★★★★Margaret Salmon: Aperture ★★★
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