I occasionally handle various types of arts projects. My main focus is on two types of projects. Firstly, I like to undertake or assist with large artistic endeavours. Secondly, I like to assist where my technical knowledge and my skill set will make a difference.
For example, I have acted as the Artist / Curator for the Stockingfield Junction infrastructure project for Scottish Canals. I have acted as a consultant for both private and public arts projects. I have operated at director level for a Glasgow gallery and in other businesses. I have been a concept artist for a multi-Oscar winning production designer. And I often give technical support to projects that other artists are doing.
Some examples of art projects that I have participated in.
Artist Curator for Stockingfield Bridge project – for Scottish Canals.
This involved talking to the communities around the bridge, talking to the structural engineers, landscape archietects, Scttish Canals management and project managers and funder, both at infrastructure level and to fund the artwork that was commissioned for the project. And of course the artists.
Concept artist for Outlaw king film – for Don Burt.
This involved working loosely with Don and Adam Squires – hand drawing variations of the scenes to allow them to make decisions about the look of the film.
Consultant / manufacturing artist for Hillhead mural – with Alasdair Gray and SPT.
This involved working closely with Alasdair over a period of years whilst he drew the mural. It also involved talking to the project managers and structural engineers on the project to make sure that the art dovetailed correctly into the overall project. It also involved spending some of my own money to develop a completely new technology to transfer the drawings onto the porcelain tiles that had been specified for the work.
Muralist for the reinstatement of murals for St. Aloysius Church – for Page and Park archietects and The Jesuit parish of Garnethill
This involved working backwards from information provided by investigations from a well known restoration team and black and white dry plate negatives from the 1920’s.The work had to be delivered by a small team on tight deadline at height. A system of convex and concave mirrors had to be devised to show what the murals would look like from the ground once the scaffolding had been removed.
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