My work sits somewhere between electronic engineering and printmaking. I use copper because it has a curious double life. It is the material that carries our digital world, but it is also one of the oldest surfaces used for making images. I like taking it away from its practical purpose and seeing what happens when it is allowed to behave on its own.
I work through processes of controlled erosion, using chemicals, industrial paints, metal treatments and vinyl. Rather than making fixed pictures, I let the surfaces change and weather, much like the Scottish landscape itself. Oxidation continues long after the work leaves the studio, so each piece remains in a slow state of becoming. What interests me is not permanence, but change: the traces of industry, the passing of time, and the fleeting beauty of the natural world. The works are less depictions of landscape than records of transformation, where material and environment are allowed to speak for themselves.
I studied Fine Art at Falmouth School of Art, dedicating my focus to printmaking with a specialization in photopolymers. I established my own print and design enterprise in 1997 with much valued support from the Prince's Scottish Youth Business Trust and Highlands and Islands Enterprise. My projects have spanned a spectrum from promotional printing to the industrial package design.
My work is concerned with light, with metals, and with things that don't stay the same. I use printmaking, photography and industrial paints on copper and zinc, often working with solar plates and surfaces that have been treated in both controlled and unpredictable ways. What interests me is the point where intention gives way to chance.
I've always been fascinated by the beauty of things that are temporary. Much of my thinking comes from the Japanese idea that nothing is fixed and that change is part of the character of things. I combine traditional methods of printmaking and painting with industrial processes, allowing chemical reactions and natural forces to play their part. The result is work that continues to shift and evolve, where light, time and material are as important as the image itself.
Statement for the Eagle Feet gallery exhibition, Sat 1 June to 8 Aug 2019
This series of prints and paintings are about the materials Calum has used throughout his working life. When he studied printmaking at Falmouth, he used copper plates to make intaglio prints. The prints focused on landscape, the coast and the sea. Three themes that continue to influence his artistic career.
A strong inspiration is derived from the world of electronics, this fascination began with his father’s engineering background and business. Copper (Atomic Number 29) is an excellent electrical conductor whose name is derived from the Roman 'ore from Cyprus', aes cyprium, later modified to 'cuprum' from which we derive 'copper'. The Egyptians used The Ankhe symbol (a cross with looped top) to signify copper, which also represents eternal life.
The eighth most abundant metal on earth, copper was forged in supergiant stars that exploded as supernovae. The first metal used in any major quantity in human history, the Bronze Age is named after a copper alloy, its success is due to its resistance to corrode and easy formation into utensils and jewellery. The invention of the printing press in the 15th century by Gutenberg vastly increased the demand for copper because of the ease with which the metal could be engraved or etched. (Another connection to Falmouth, Cornwall, is that even though Cornwall is primarily known as a tin mining county, in the early nineteenth century Cornwall was the greatest producer of copper in the world).
The compositions in this body of work are inspired by maritime communications. Nautical flags were originally used in ancient military encounters and by 1653 the Royal Navy issued instructions by signalling with flags, modern naval code signalling began with the invention of maritime signal flags in the mid-17th century by the Duke of York. Numerous signal books were published after these systems, culminating in the International Code of Signals, which has gone through a few revisions but still proves useful as most navies still use the ICS flags for representing letters.
Each print on copper alloy are ICS flag standard forms but multilayered, like photographic film. Creating compositions from randomised sources like current news headlines, but inspired by design elements and movements of the twentieth century such as Plasticism and Dada, and the Bauhaus school. Influences are Anni Albers, Mondrian, Schwitters and designer Peter Saville. The copper prints are mostly in the standard size of vinyl or disc sleeves and use industrial printing techniques for printing direct onto copper alloys.
The copper studies are about process, the manipulation of paint/print creating randomised patterns and flows over the metal surface. A playful process that creates irregular patterns.
Two copper pieces were included in the open exhibition, YELLOW, in An Tobar Gallery from 2 Nov - 21 Dec 2019.
In 2019, the first series of copper studies were exhibited in the Eagle Feet Gallery. The exhibition was called No.29 and had over 2,000 visitors with 8 sales.
Two compositions from the copper print series were selected for the 121st Society of Scottish Artists exhibition at the Royal Scottish Academy in 2018-19.
A new copper study created in lockdown was selected for the 130th Society of Scottish Artists exhibition at the Royal Scottish Academy 2022-23.
"Too much of a good thing is wonderful." Liberace