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Published in BBC News, 6 February 2014
A set of steps in Edinburgh’s historic Old Town, which have been closed off from the public for 10 years, are to be repaired and revamped.
The steps are to get new gates and an art installation by renowned Edinburgh artist Callum Innes.
Callum Innes said: “I was initially approached by Malcolm Fraser to develop an installation that would reclaim the steps as a public space, addressing some of the issues that had led to its closure.
“By placing an infrared camera half-way up the steps we make a hidden part of the steps visible, relaying live footage of silhouetted figures to be superimposed onto the changing colours of the screen.
“The installation directly engages both the architecture of the steps and the public for whom they serve.”
Some of the funding is being provided by Edinburgh City Council from its neighbourhood environment projects budget.
Published in Wall Street Journal, 22 March 2012
Callum Innes is best known for what critics dub “unpainting,” and he has collaborated on exhibits with such non-painters as novelist Colm Tóibin. But for an abstract, boundary-crossing artist, his reflections on art can sound almost traditional.
“I like the idea of beauty,” he says. “I see nothing wrong with the beautiful, for things to have a rightness about them.”
His first solo exhibition in Asia, at Edouard Malingue Gallery in Hong Kong, recently opened. The 1995 Turner Prize finalist shared his thoughts on seeing sound and the biggest problem with art.
Published in The Financial Times, August 18-19 2007
‘Innes shows that painting need not be restricted to making marks – subtracting them is a valid exercise too. At first, these works, with their organised, coloured squares, seem Mondrian-esque, but while Mondrian was concerned with the journey away from figuration, Innes is concerned with the journey from his blank canvas.’
Published in The Spectator, March 31 2007
Despite Innes’s sensitive use of colour elsewhere, the outstanding paintings in this exhibition are monochromatic. ‘Two Identified Forms’, 1995, ‘Three Identified Forms’, 1993 (Tate Gallery), and ‘Monologue Seven’, 2003, encapsulate the artist’s ideas about ‘fragility and flow’ and achieve a veil of shifting impressions and presences.
Published in The Observer, March 11 2007
‘… the exhibition’s climax is to be found in the final gallery: a series of canvases entitled Exposed Painting, Dioxazine Violet. This is mature work; it has a real sense of authority and not only because Innes has used a paint colour that brings papal robes irresistibly to mind. I love the way these works talk to each other, each of them subtly different from the last. They form an echo chamber of colour and mood. One half of the painting shouts to another, but all that comes back - after Innes has set about it with his oily chemical - is a kind of ghostly cry. Stare at them for long enough and their murkiest corners start to resemble a shroud imprinted with the memory of what lay on it. Or perhaps this is just an over-the-top way of saying that their image stays with you long after you have left them.’
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