Saturday 8th August to Sunday 16th August 2020 from 11.00am to 5.00pm daily.

A fabulous line-up of six of the KEY PLAYERS in contemporary figurative and landscape art in Scotland. 

Please call 07867 800 935 or email kenlemomd@msn.com if you would like to BUY or RESERVE a painting.
We recommend that you make any decision quickly in order to avoid any potential disappointment.

Stephanie Rew (b.1971) graduated from the Duncan of Jordanstone College of Art and Design (1990-1994) having studied Drawing and Painting.

She paints the Human Form - the most potent symbol we have.
Rew uses pattern, colour, the texture of textiles and costume to create a tactile and dramatic effect. Strong Light and colour are critical elements within her paintings together with a sense of a private and reflective mood. The use of couture and kimonos add design and drama to the composition.
She is not attempting to create a narrative - "that I leave to the viewer to create for themselves."

Key technical influences are a Baroque style, Old Master techniques and Chiarascuro. Artist influences include Caravaggio, Whistler, Sargent and the more recent influences of Alison Watt and Jenny Saville. 

Judith Bridgland (b.1962) opted for a more academic path towards her artistic foundations, studying for a History of Fine Arts and Literature Degree followed by a Masters.
Her research and understanding of art history informed her choice of an 'expressive' (colour push) style as she approaches her canvas.
Bridgland has become a senior force within the Scottish contemporary landscape market. Her main market is London and we are very lucky to get a rare chance to see a broad body of her work in one gallery space in Scotland. 

The combination of her thick impasto technique with her 'bravura' or 'alla prima' (first attempt) painting style creates powerful, enduring and entertaining masterpieces.

A quite brilliant technical artist, Bridgland uses her impressive artistic range to connect with the viewer, to bring them into and share her enjoyment of the scene.     

Drysdale Scott (b.1963) studied at the Glasgow School of Art (1983-87). This was a period right at the centre of the Figurative Narrative revolution (New Image, 1985).

Scott also studied the ‘Great Painting Masters’ – Titian, Rembrandt and Caravaggio. He was drawn by their limited palette, powerful form and intriguing subject matter. He had a particular fascination with strongly illuminated subjects and ‘chiaroscuro’ (light and dark), which creates strong contrasts to underpin dramatic effect.

His craft has deep roots and there is an intensity in both his technique and his thoughts. Like many of the great painters in Art History, Scott has learned the great gift of placing a strong sense of visual narrative at the core of his paintings to make them (classically) enduring and deeply pleasurable paintings .

Lex McFadyen (b.1958) studied at GSA (1976-80).
Following qualification Lex channelled his creative energy into his own fashion design agency and the world of high end couture. He travelled the world to all the main fashion shows and dressed and mixed with many of the rich and famous.

This experience was translated to his art when he returned to painting in 2002. You get a wonderful sense of flamboyance, exaggeration and design in his work.
McFadyen now splits his time between his cottage in Crinan and a house in the medieval village of Noyers sur Serein (North Central France). For this show he has created landscapes from the countryside around his French home between nearby Chablis and Avallon. He has also produced a powerful and distinctive range of his colourful ‘nature mort’ (still life’s).

Paul Kennedy (b.1981) studied at the Edinburgh College of Art ECA (2000-04).
He is a very ‘natural’ painter who fuses painterly (loose brushstrokes) expression with elements of detail, to form a realist twist. He does not want his paintings to look like photographs.
His work is also designed (in his words) to be jolly and uplifting and a little bit dreamlike.

Kennedy’s interest in boats comes from his childhood holidays in the east coast of Scotland (St Abbs) where he would spend time in the harbour with the boats and creels, watching the fishermen unload their catches. He loves the colours of the boats and buoys, the shapes of the boats and wheelhouses and the balance of the reflections in the water.
Kennedy’s work makes an key contribution to our record of one of Scotland’s most important industries (fishing) - an industry that helped to sustain many of our remote coastal villages.