Anthony Scullion

Home Artists Anthony Scullion
Paintings
About

Paintings

About

1967                Born 3 June, Scotland

1998               Glasgow School of Art, BA Hons – Painting

 

Exhibitions

 

2012

Beaux Arts, Bath, Solo Exhibition

 

2010

London Art Fair, Islington, Beaux Arts

 

2005 – 2007

Beaux Arts, Bath

 

2007

London Art Fair, Islington, Beaux Arts

Art London, Chelsea, Beaux Arts

 

2007

Royal Glasgow Institute of Fine Arts, Glasgow

Everard-Read, Cape Town

 

2000 – 2006

Flying Colours Gallery, London

 

2003 – 2005

Gallery Heinzel, Aberdeen

 

2000 – 2005

Fine Art & Antiques Fair, Olympia, London

 

2004

Mansfield Park Gallery, Glasgow

 

2001-04

Royal Glasgow Institute for Fine Arts Annual Exhibition

 

2001

Royal Academy of Arts, Summer Exhibition, London

 

1998

Joao Ferreira Gallery, Cape Town

Standard Bank National Arts Festival, Grahamstown

Histories of the Present, University of the Witwatersrand

 

1996, 1998

Carfax Gallery, Johannesburg

 

1997

Shopping Trolley Project, Primart Gallery, Cape Town

 

1994 – 1996

Natal Society of Arts, Durban

 

1996

Exhibition with Peet Pienaar, University of Pretoria

 

1995

Devilliers Gallery, Johannesburg

Newtoen Artspace, Johannesburg

Johannesburg Biennale Fringe

Cunning Stunts, Newtown Artspace, Johannesburg

 

Awards
1991                James Torrance Memorial Award (RGI, Glasgow)

2005                Short Listed for Garrick-Milne Prize

 

Statement

 

The art of Anthony Scullion concentrates upon the body, seen equally as flesh and soul. He invests these bodies with forms and colours that further the tradition of the masters in art. Without any plagiarism of them, Scullion resonates at once the chiaroscuro of Rembrandt, the spirituality of Giacometti, and the distortion of Bacon.

 

Previous Catalogue Text

 

Pensive, caught in mid-thought, immersed in the ebb and flow of everyday existence, Tony Scullion’s protagonists and the empty spaces they inhabit are far removed from the shock and awe of the more conspicuous art of our modern times.  In essence his work, consisting entirely of portraits and figures in space presents us with simple yet fundamental dilemmas inspired by the experience of our own mortality.

 

Whilst the figures look either towards us, or within our sphere of vision, neither their mien nor their environs offer a clue as to the reason for their presence.  We are apparently being gently provoked to respond. With their plain clothing they appear dated, or even timeless, and could  perhaps be characters from Samuel Beckett’s trilogy, or equally James Kelman’s modern day Glasgow.

 

The charcoal and ink drawings (Head study, Years Ago) and the strong angular lines of the painted figures are reminiscent of Giacometti, who himself shunned the trend among his peers towards surrealism, and persisted with his pared-down, heavily reworked, isolated figures.  Warm reds draw the figures out of the often more earthen-hued backgrounds, in a dramatic manner rich in emotional sensitivity that calls to mind the chiaroscuro self-portraits of Rembrandt.

 

The clarity of the emerging figures, and the looser, more spontaneous stirred up sea of colour they emerge from, imbue the The Visit, or The Good Samaritan with a certain poignancy.  There is a moving sense of lostness, wholly reminiscent of the circular philosophical musings of Vladimir or Estrogan in  Waiting for Godot.  The painting titles do not bring these quiet vignettes toward resolution, but simply throw up more paradoxes- the Accidental Angel is not obviously angelic, though as with the figure in the Anonymous portraits, he possesses a kind of urban nobility, accentuated in Anonymous II by the upward perspective, and the use of a circular, ‘commemorative’ format. The Free Spirit has a barrier blocking his progress. Alternatively the designations demand more questions, as in Journey’s End (what journey?) or The Visit (who is visiting who?).

 

Anthony Scullion has produced a body of work which, with a careful balance of calculation and liberated painting breathes life into characters who, just as with Beckett’s plays, are for most of us, most of the time, beyond prose or thought and therefore pretence.  Instead of the frailty and hard edges being forbidding, the artist succeeds in drawing us in towards the heart of the matter. We recognise something of our own lives and of the world around us in the gestures, the demeanour, the contemplative place depicted.  It is in the warm human glow of this recognition that the rare and affecting essence of this work is located.

 

Aidan Quinn, 2007

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