After the Call’ Exhibition 2018
ITIA artists invite you to examine with them what happens after the call. The Transept – a group of practicing artists within the Institute for Theology, Imagination and the Arts (ITIA) – invites you to join us for an upcoming performance and exhibition.
‘After the Call’ offers space and time for celebration and reflection around the notion of being called unexpectedly to something unknown, or perhaps to something all-too-familiar that we suddenly realise. http://itia.wp.st-andrews.ac.uk/2018/03/13/after-the-call/
6-15 April 2018
Venue open from 12:00 to 17:00 each day.
Performance evening on 11th April at 19:00 – engaging and interdisciplinary performance with music, poetry and monologues.
Location: Saint Andrew’s Episcopal Church, Queens Terrace, St Andrews KY16 9QF
All imagery and details courtesy of Liz Crichton and Dan Drage. Copyright may apply.
1. Place (reeds, rope, font) – Dan Drage
2. Echoes (series of four watercolour on paper) – Dan Drage
3. Light (mixed media) – Dan Drage
4. Movement (mixed media, marble, column) – Dan Drage
5. A life to live? (mixed media) – Liz Crichton
6. Artist at Heart (pen and ink) - Letizia Morley
7. To Sleep, Perchance to Dream (pen and ink) - Letizia Morley
8. Distant Shore (oil on board) – Letizia Morley
9. The Flood Subsides (acrylic on board) - Rebekah Dyer
10. Fulfilment (video) – Liz Crichton
11. Cast Off (papier-mâché, wire mesh) - Rebekah Dyer
12. Expectation (mixed media) – Liz Crichton
13. Be Prepared (mixed Media) - Liz Crichton
14. After the Call (12 mono-prints) – Liz Crichton
15. The Sands of Time (mixed media) – Liz Crichton
16. Call-and-Response (mixed media) – Liz Crichton
17. St Ninian’s Cross - Dr J Larry Scrimgeour
18. Cross and Trinity - Dr J Larry Scrimgeour
19. Celtic Cross, Shema - Dr J Larry Scrimgeour
20. St Columba’s Cross - Dr J Larry Scrimgeour
21. Sapling (wood and acrylic) - Philip Wharton
22. Risk (latex) – Liz Crichton
23. Coincide (mixed media) - Sherrill Keefe
24. Imagination (audio) – David Cameron
My work explores the hopes and fears for the future of humanity, challenging commonly held perceptions and expectations by presenting an alternative perspective on everyday objects and images. Inspiration comes from my surroundings – The environment and the people I encounter together with my own personal spiritual journey. Working with a variety of media and in participation with the public, my work often contrasts the power of the natural elements with the fragility and temporary nature of life and the futility of human endeavours and seeks to inspire others to step out beyond what they know for certain.
The pieces I’ve made for this show are site-specific, coaxed from time spent in that particular corner of the church. They have each come to embody a question: ‘Might a sense of call abundantly stream down in a very specific time and place?’ ‘Might it be as persistent as light through a window?’ ‘Could it be jarring and disorienting, as seemingly insignificant details reverberate and echo, announcing their “more than they seem” quality?’ ‘Or could crossing the threshold be like breaking free from your old system, suddenly with no boundary, yet also no direction?’ In all, the normal becomes transcendent.
Cast Off. Like a sculptor’s cast, ‘the call’ leaves its imprint on us. Reflecting on my experience as a doctoral researcher, two of my ‘casts’ use notes from my thesis to reveal how I have been indelibly shaped by my work. What new growth awaits in the final cast?
The Flood Subsides. What happens when ‘the call’ overwhelms us? The call to living an authentic life as an LGBTQ+ person of faith involves risk, pain, and uncertainty. Like Noah, swept away by the flood, we are left struggling for survival — yet when the flood subsides, we find a divine promise expanding through the colours of creation.
I am inspired by the natural world and often find myself pondering its many levels. The idea that we do not fully perceive the natural world ever before us often informs my work. My past artwork has ranged from large scale installations, to smaller stand-alone works in graphite, charcoal, fibers, silver point, tusche, hot glass, metal, and wood. I enjoy responding to the demands of a concept through choice of material. In this artwork, the semi-translucent surface opens it to the interplay of natural elements such as sun, cloud and moonlight with subtle, moment-to-moment changes that work on both the surface and the eye of the viewer.
I live in St Andrews with my husband, who is a PhD student, and our two children. I stay home with the children full-time, which often makes it challenging to make art. I pursue a wide range of mediums and interests: oil landscape painting, medieval-style illuminated calligraphy, comics, watercolour painting, photography, portraits and life drawings in graphite and also digital painting. My style is primarily contemporary realism. A self-taught artist, I like to pursue beauty and joy in whatever form strikes me at the moment.
Dr J Larry Scrimgeour
With these endless mandalas I continue the ancient craft of the Celtic scribe here at the Celtic Fringe. Gone is the fairy-tale world of folk imagination and superstition. Gone are the images of real and fantastic creatures, totems of Pictish Paganism. After the annunciation of the Good News by Ninian and Columba, we see instead abstract, enigmatic symbols. The fierce northern tribes enter a new mind-set reflected in these iconic images of the cross and trinity. The imperfect can be made perfect, the finite can become infinite, life can follow death... Pictish Paganism has become Celtic Christianity!
1.A young tree, especially one with a slender trunk.
1.1. A young and slender or inexperienced person.
I remember well my sapling years.
Sapling was sparked by a few things I felt recently connected to.
Tracey Emin expressing on YouTube a passion to create her own
unique tree. A friend who (out of the blue) took to carving a figure from a tree
trunk. My time as a youth spent climbing endless trees, here
And most poignant of all is the heartfelt loss of a friend's young son
Cajus, son of Dorothia and Axel Stockmar.
I'd hope the presence of this piece is felt as one of pivotal
transition. From one state to another. One form to another.
A beginning, not an end.
You set out with a wave of ideas all demanding to be heard in their own unique way. And it's often not possible. So I set out to present a collective presence. And then from this presence you draw your own personal take.
Not everyone's take is intended. But
every sense of good will, peace and hope here is.
Very sincere best wishes. Philip