Scott Myles

Heal Walls

Sep 15 – Oct 28, 2016


Rat Hole Gallery is pleased to present a solo exhibition of work by Scott Myles on view from September 15 until October 28, 2016. Featuring an installation of new print-based paintings, collages, and sculptural works, the exhibition marks the first time for the artist’s work to be shown in Japan.


Scott Myles
HEAL WALLS, 2013- 2016
Unique screenprint on aluminum
100 x 141 x 4 cm
Courtesy of the artist and The Modern Institute/Toby Webster Ltd, Glasgow

Scott Myles (Scottish b.1975, lives and works in Glasgow), whose artistic practice is both conceptually-based and strongly gestural, often combines different artistic processes and finds expression in varied materials and in several mediums. He has sometimes appropriated or cited works by other artists, incorporating them within his own aesthetic repertoire, and also makes use of found objects, frequently recovering resonant fragments from domestic spaces or from the commercial urban environment, and recasting or otherwise reworking them to produce new, often abstract, forms. These varied approaches are all at the service of Myles’ continuing exploration of his own artistic language and his pursuit of a set of concerns that he has consistently addressed in his oeuvre. Key among these are: gift exchange as a forging of reciprocal obligations and relationships; art’s interaction with economics and the status of art-making as a form of work and / or as a refusal of work; the question of how psychological or subjective dimensions might register in the very materials and structures of our physical environment.

Myles’s studio door has become an important emblem in his work over the past year, one that condenses his key concerns and locates them at precisely the threshold through which he enters the space in which his art is conceived and made, and across which his work leaves that space and enters the world. The door is pictured in one of the new works at Rat Hole Gallery and provides the proportions of all the wall-based works shown here, at varying scales from 1:1 down. Beyond such direct references, the negotiations the studio door emblematises between worldly realities and the more personal, autonomous language of his art can be seen throughout the works found in the exhibition, as well as how economic relations pervade everyday life and its spaces.

The writer Georges Perec noted in Species of Spaces that any door ‘breaks space in two, splits it, prevents osmosis, imposes a partition. On one side, me and my place, the private, the domestic … on the other side, other people, the world, the public, politics.’ Myles new body of work allows the viewer to ponder questions such as: where are the boundaries between public and private are when the cloud reaches through our walls? And what does it mean for artwork and artist alike to occupy the threshold between the world of the studio and everything that lies beyond it?

Scott Myles’ artworks are held in many private and public Museum collections including Tate, London; MoMA, New York; Hammer Museum, Los Angeles; Scottish National Gallery of Modern Art, Edinburgh and GoMA, Glasgow. He has been the subject of numerous solo exhibitions, including Dundee Contemporary Arts, Dundee, and Kunsthalle Zurich. Group exhibitions include Apparitions: Frottages and Rubbings from 1860 till now, Hammer Museum, Los Angeles & Menil Collection, Houston; DLA Piper Series: This is Sculpture, Conversation Pieces, Tate Liverpool; Contemporary Scottish Art: New Acquisitions & Loans, Scottish National Gallery of Modern Art, Edinburgh; Blasted Allegories, Works from the Ringier Collection, Kunstmuseum Luzern; On interchange/Interludes of a collection, Museum Kurhaus Kleve, Germany; Theorema, Collection Lambert en Avignon, Avignon; Image/Text, Tate Modern, London.


Scott Myles
Untitled (ELBA Black, Green), 2012
Unique Screenprint on paper
194 x 194 x 16 cm
Courtesy of the artist and The Modern Institute/Toby Webster Ltd, Glasgow & Meyer Riegger, Berlin


Scott Myles
Untitled, 2013
Perspex, mirrored paint, painted wood, snail shells
158 x 41 x 41 cm
Courtesy of the artist and The Modern Institute/Toby Webster Ltd, Glasgow

 

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