Glasgow International Festival of Contemporary Art

Black Socks, No Panties! / The Stone Bouquet from Cologne

scan of minimal and abstract painted work on paper
A photo is displayed above a fireplace in a room, which has peeling red wallpaper. In the centre of the room is a wooden table with a painting displayed.
A framed artwork of a black and white nude figure. It is displayed on a red wall.
A black and white artwork of a nude.
An abstract artwork featuring dark green colours is displayed on a wall of peeling paint.
Dates and Opening times

Fri 7 – Sun 23 June
Fri – Sun, 12pm – 5:30pm

Venue

Celine
493 Victoria Road
G42 8RL

Participants
Sarah Cameron
Presented by

Celine 

Supported by

Supported by Glasgow International with funds from the Scottish Government’s Festivals EXPO Fund

Accessiblity

Limited access: The venue is situated on the third floor of a tenement building accessible only by three flights of stairs.

Parking: The building is on a main road with limited parking, but with free parking on nearby side streets. 

Public transport: The gallery is opposite Queens Park railway station. Bus routes 3, 4, 5 & 6 can be taken from Glasgow city centre to the gallery.

Sarah Cameron is an abstract painter who makes paintings over different durations and in specific places. She offsets painting with a combination of made and found objects, photography, and text, thinking about how painting sits next to materials with more readily interpretable politicised content. For her first solo exhibition in Glasgow, she presents new paintings and an object with works from 2015 that have not previously been shown as a series. There are also photographs from her ongoing ‘body’ series.

In her paintings Sarah employs acts that could be construed as negative – cutting, tearing, dispersing – that help to expose new lines of thought, with the works becoming a collage of growing ideas and stops or rests. In parallel, Sarah’s small photographic works of close-up posed images of the body are inspired by the shapes of succinct minimalist typography. These photographs have their roots in images from pornography. However, positioning her own body or the bodies of close friends in her work, she delicately moves the focus away from the spectacle of commercialised body image and towards the formal elements of contour, balance and elegance.

 

Schlik the Pearl: The 'Libidinal Economics' of Painting After the Network with Sarah Cameron and Dr. Paul Pieroni
There will be a discussion event with the artist and a curator during the festival at 5 Florence Street. Find out more here