Topophilia is a strong sense of place, which often becomes mixed with the sense of cultural identity among certain people and a love of certain aspects of such a place. Six artists come together to explore this theme questioning Glasgow, and the contrasting elements in our surroundings and out environments. Our work is centred around place, time, mapping and movement.

Sarah McWhinney's work delves into the ambience of exploration and wilderness. Recent work centres around a bell, found in Torwood Mine, eroded by water and passing time. The rust falls away when the bell is struck; musical, physical, historic and aesthetic properties are combined to form a resulting artwork and performance. 

Viv Walker explores the relationships exhibited between humans and their natural environment, drawing upon sources from prehistory until the present day. Trees create a specific context rooted in both natural growth, and the practical use of their wood. This is explored by contrasting the human-made gallery environment with native British trees that have been manipulated using traditional green-woodworking techniques.

Amy-Leigh Bird experiments with the theory of Topophilia in her diverse pieces that are all connected by their geographical centre: the River Kelvin. She indulges her childhood fascination of collecting natural objects in her artefactualization process, which captures found materials from the river in various mediums, allowing an amalgamation of both natural and man-made materials discovered in one environment. This creates a space which fuses a personal and collective experience, where the public can explore and interrogate a space which holds a specific range of emotions for the artist. 

Vivienne Kelly questions the cities removal from ‘nature’. She believes that this distance can be closed through changing perspectives of the city and our use of it. She uses psychogeography to explore Glasgow moving with desire. Her fascination with animalistic movement in the city reconnects us to ‘nature’. This has evolved into the mapping and taxidermy of street pigeons pushing against societally accepted activity and welcoming the usually ‘abject’ reminders of nature into the centre of her practice and her view of Glasgow.

Alison Johnston’s practise pushes the boundaries between print and sculpture whilst addressing themes of time and ephemerality in relation to natural processes. Currently she is working closely in collaboration with the sea, aiming to capture the futility and cyclical nature of water. Evoking ideals of a spiritual, ritualistic and infinite nature.

Eve Miller’s work explores the ability of organic matter to create a spatial dialogue between form and environmental issues. By producing site-specific etchings, installation and documentation she examines the potential of contained form to represent the uncontrollable and chaotic. Her present work considers the metaphorical act of the common weed and Invasive Alien Species.

Topophilia is at New Glasgow Society 10:00-13:00, 27th March with a preview event at 16:00-21:00, 26th March