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Invisible Fields

A touring exhibition of video art by 12 Scottish artists. Curated and delivered by participating artists Su Grierson and Sara Felton 2004-2005.

An Tuireann Isle of Skye Scotland : Angus Digital Media Centre Scotland : Street level Gallery ‘Glasgow International’ Glasgow Scotland : KU Galerii Tallinn Estonia : Yokohama Art Museum Japan ( shown as a lecture presentation)

Participating artists were: Victoria Clare Bernie, Samantha Clark, Maria Doyle, Sarah Felton, Su Grierson, Anne Bjerge Hansen, Jane McInally, Metacorpus, Rosalind Nashashibi, Susannah Silver, Susan Sloan.
Catalogue supported by The Sealgair trust. Travel supported by The British Council.

Catalogue Published 2004
Street level small publication No 17 text by Rebecca Gordon Nesbitt 2005

In our exhibition catalogue we wrote: ‘Each of the works selected has a physical presence, an ability to reach an audience through visual dynamic, and then engage through the depth of ideas and the questions they promote. These works were felt through in their production and are always more about depth and content than technological showmanship.
That these artists are all women has not escaped our notice, however that did not start out as our intention. We do feel though that women artists were and still are under-represented within the art world generally and in ‘new media’ particularly and we have no hesitation in redressing that balance.’ Sarah Felton : Su Grierson 2004

Writing now in 2018 I believe those thoughts are still valid.

‘In ‘My Blue Heaven’ Su Grierson rolls up the fairground spectacle with the equally manufactured reality of the wild west, the digitally collaged photographic print with the looped moving image. The knotted forests and the red sky blazing over snowy mountains are all deceptively authentic if it wasn’t for the iconic cowboy rider and his lady whose white horse seems to be borrowed from the fair roundabout set and grounded to a halt on stilts. As previously in her work Grierson uses landscape art and environmentalist aesthetics, this time to communicate how our relationship with the land, the remote and the rural is driven by frontier myths, escapism and thrills, not unlike in the pleasure lands of the fairground.’

Iliyana Nedkova 2005

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