Nested in rusted caravans or hovering above vast landscapes, small glowing orbs reminiscent of the sun, stars, and otherworldly technologies populate Andrew McIntosh’s latest body of work.
On view with James Freeman Gallery for the British Art Fair, The Calling conjures McIntosh’s interest in mystery and magic. The London-based Scottish artist often evokes the lush, dramatic landscapes of Romantic paintings, which he recasts with a supernatural bent.
“Étaín” (2024), oil on canvas, 170 x 130 centimeters
Pieces like “Étaín” and “Brighid” recall McIntosh’s earlier works that tuck entrancing portals into travel trailers, a symbol of the adventurous spirit. These newer paintings similarly position wide ocean views inside the mobile homes, contrasting the immense scale of the sea with the tiny confines of the caravan.
The Calling also steps back to take a broad look at natural wonders. Expansive landforms like the St. Kilda archipelago in Scotland and Mount Everest are veiled in a hazy wash of oranges and pinks, and the illuminated orbs float along their edges.
These works explore “how the wilderness worldwide, such as the mountain faces of Everest and K2, has the power to act as host for the inexplicable and the mysterious,” McIntosh shares, adding that they “speak to (a) need to engage with something greater, something beyond our physical substance.”
The Calling is on view from September 26 to 29. Find more from McIntosh on his website and Instagram.
“Plate II: Suilven” (2024), oil on canvas, 110 x 130 centimeters
“St Kilda Lights” (2024), oil on board, 42 x 23 centimeters
“Brighid” (2024), oil on canvas, 100 x 130 centimeters
“Everest Lights” (2024), oil on linen, 35 x 40 centimeters
“St Kilda Caves” (2024), oil on linen,
53 x 33 centimeters
“Meant to climb” (2024), oil on linen, 50 x 30 centimeters
“Odyssey” (2024), oil on canvas, 100 x 130 centimeters
“K2 Lights” (2024), oil on linen, 35 x 40 centimeters
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