About the Gallery
Supporting Compass Gallery
For over 30 years, Compass Gallery has set a precedent
of visiting all the Scottish Degree shows. It is an opportunity
for the gallery’s directors Cyril and Jill Gerber, to make
contact with the young artists, and select then exhibit the most
interesting and exciting works in the New Generation exhibition.
Compass Gallery is supported by Glasgow City Council
Note to Artists with Work in Compass Gallery Store
We have been trying to reduce for several years the quantity of work that has been left in the Compass Gallery store, and requested that any artist who has left work should contact us, and make arrangements to collect it. Many of you have done this and several have chosen to donate their work to the Gallery, which is a registered charity with not-for-profit status, leaving it to us to decide on a suitable method of disposal. Although we have made strenuous efforts to contact our artists, the quantity of work we are holding in storage remains a problem. Once again, we are putting out a call to request that you get in touch to discuss either donating the work or to let us know your arrangements for uplifting it. (March 2013).
Cyril Gerber 1917-2012
It with great sadness that we announce the passing of Cyril Gerber. Peacefully at home on 28th August 2012, much loved by his whole family, many friends and everyone who knew him. A Memorial Celebration for Cyril will be held within the next few weeks.
Summer Exhibition 2013
Our mixed Summer Show is on the walls, which includes Contemporaries such as Lesley Banks, Joyce W. Cairns, Helen Flockhart, Alexander Fraser, Jack Knox, Neil MacPherson, David Martin, Philip Reeves, Lara Scouller, Gregor Smith, Peter Thomson, Adrian Wiszniewski, Alma Wolfson and selected recent graduates. We hope that you will visit the gallery to see this spectacular exhibition.
Helen Flockhart - Swan Like
Visiting the studio of Helen Flockhart is like stepping into an intriguing other world. In her unfamiliar yet familiar paintings she creates scenarios of dreamlike landscapes, populated with strange proud figures. They are often distorted, sometimes joyful, ecstatic in their existence: some are fearful displaying echoes of the human frailties of adolescence within the complexities of social interaction. Helen embraces and examines fears and life experiences. Sometimes her imagination takes her off and away and it is only after the fact that it becomes apparent where it has sprung from. In the painting 'Wallflower' the figure stands apart looking in. Her disproportionate largeness indicates her sense of conspicuousness and ungainliness. Her smile belies her eagerness to be pleasing. The other figures form an impervious block. Their enthuisiasm for their encounter unites them. Her very existence on the canvas empowers her giving her inner strength. Helen draws on her knowledge of history and mythology as a source which enriches her vivid imagination. Her influences are the |Dutch, Flemnish and Italian masters, particularly Van Eyck and Rembrandt. She loves the treatment of fabric, decoration and pattern and texture of the medieval and seventeenth century portraiture. Others she admires are Henry Rousseau, together with many of the Naive artists and Turner for colour, light and sensuality of surface, all of whom affect her work. The title painting 'Swan Like' is shockingly powerful. The image of the figure flying, perhaps swimming, amongst the swans demonstrates her superb painting skills. In the process of creating the detailed pattern of the background, Helen finds the repetition mesmerising and meditative. Standing as an observer, the impact is physical - I am finding myself almost swaying with the powerful rhythm of the composition.