This summer, artist Joseph Calleja and I will produce an exhibition in An Talla Solais (Ullapool) in response to a series of coastal themed artworks created by the late Robert Callender. A set of Callender’s works will be on display alongside our own.

We’re also running an Open Call – inviting artists to exhibit in an adjoining gallery space at the same time as our event. Our aim is to promote discussion on the subject of coastal change and present artworks which delve deeply into this important and globally significant environmental topic. What better way to do this than an open call.

Artists around the world are turning to the environment: creating timely, thought provoking pieces in response to climate change and adding to a growing bank of awareness raising artworks. Art has the power to offer direct entry points quite unlike any other medium.

We are looking for artworks from a range of practitioners. Selected entrants will be exhibited in a dedicated room within An Talla Solais, at the same time as our summer exhibition As Coastline is to Ocean.

Applying artists must reference at least one feature of coastal change in their submission. All aspects will be considered – whether your focus is coastal construction, erosion, beach waste, sea rise, flooding, or the acidification of sea-water – we’d like you to offer the audience an entry point to the topic.

A reference to Robert Callender’s work is welcomed, though not essential. Applicants may submit a maximum of two works each, via email (below). Our preference is for painting, drawing, print, photography, collage, assemblage – but three-dimensional works will be considered so long as they have safe wall fixings. Works must not exceed 80 x 80cm each. Full details are on the An Talla Solais website.

Submissions now closed

Rising Horizon is now closed in The Scottish Gallery. Thanks to everyone who made it to the show, and to those who’ve been in touch from further afield. Photos of the exhibition can be seen in my previous post, and you can also watch a video of our ‘in conversation’ event on the exhibition webpage.

The exhibition has highlighted to me that there’s appetite for such environmentally focussed projects. My studio work within this theme will continue. During the exhibition, whilst the artworks were out of the studio, I spent some time putting together the following petition, which I’ve just launched on Change.Org.

The petition calls for a more regular Environment News slot to be heard on radio: offering daily, bitesize chunks of information on what we can all do, and what’s being done by others, both at home and further afield… the bad, the good & the inspirational. I spend most of my working day listening to radio and have become increasingly dismayed by the scarcity of environmental coverage in the daily news.

One of the most pressing issues facing our planet today is climate change. This petition outlines one basic suggestion that a more regular Environment News feature could be heard on key British (notably BBC) radio stations, spreading vital information and insight, elevating the topic within our everyday lives.

An idea which requires minimal intervention…

This idea is a starting point – an example of the format this feature could take.

Throughout the day, we are kept abreast of Sport News updates. At a time when our environment needs as much media coverage as possible, the same style of feature-slot could be employed for an Environment News broadcast. As just one solution, why not alternate the Sport and Environment broadcast each hour?

At this stage, I'm presenting this basic proposal and looking for numbers to take to the BBC / OFCOM, to show that there is public appetite for such a slot: that we want to be kept updated, more frequently, of climate change related news and of innovations in the everyday roles we ourselves can play. From global updates, to everyday lifestyle, dietary, recycling and campaign information.

Why is this important?

This idea is merely a starting point: an idea that simply alters an existing structural feature of news broadcasts. Whether it takes a bi-hourly form or not is beside the point: the intention is to integrate environmental news into our daily lives, generating demand for more frequent updates from our policy makers. Every step counts.

A turning point has almost been been passed. The window for action is quickly closing: we must grab hold of our rising global average temperature. We must know what decisions are being taken and how on-target we are for achieving the goal of the Paris Climate Agreement.

This would be a simple step in raising awareness: Environment News (like Sport News currently) heard throughout the day will dramatically increase public engagement and elevate the topic within daily lives. Currently, one has to actively research independently to grasp the range of issues facing our planet as a result of climate change: this should not be the case.

Rising Horizon featured over 150 oil paintings of sea, each with a horizon-line at a different level. Every work in the series was created using recycled materials, each discusses sea-rise.

The exhibition was the subject of a series of online reports from Art North Magazine, including the interview below.

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IAN McKAY: As Rising Horizon comes to an end I wondered whether you are already beginning to take stock of the project, or whether it was possible to stand back from it yet…

DAVID CASS: To stand back and look over one’s own project is not an easy thing to do. I don’t see Rising Horizon as an end-point, but I can see it as a contained slice of the whole. For one, the show is contained through its materials. It’s a show created from mostly, though not limited to, metal found objects, a consideration which marks its individuality when set against a practice that might be characterised by the obsessive re-purposing of antique wooden substrates. Secondly, Rising Horizon is perhaps the most far-reaching (and by this I mean non-site-specific) exhibition that I’ve ever created. The topic of the series is sea rise, which is a global issue, not exclusive to any single coastline. True, we see certain locations already impacted by rising sea levels, but overall, the rise affects the World Ocean.

You’ve shown before at The Scottish Gallery, but Rising Horizon represents quite a different perspective to previous outings both at The Gallery and elsewhere, and, correct me if I’m wrong, there seems to be a clear narrative unfolding over time that merits some comment maybe, to place Rising Horizon in its wider context. There is a clear message that appears to underpin what you are showing, now, but do you see that as a development of past work or perhaps a continuation of prior interests?

Rising Horizon followed Pelàda, an exhibition that took Venice as an example of localised inundation as a result of environmental, anthropogenic change. The Venice series examined the façades of Venetian buildings as we see them today – tide-marked brick and plaster façades – still exquisite, but eroding, stapled together, plastered with advertisements, and often etched with scrawled admonishments of cruise ships and tourist numbers. The series used the face as a vehicle to convey change, while Rising Horizon zooms out to illustrate, quite simply, a rising horizon line.

The Scottish Gallery posted a time lapse of the hanging of the show online, and it all looked very controlled and very well thought out, but hanging the show must have been quite stressful. It is for most exhibitions, but the hang broke some common rules, didn’t it? There were clusters of work. Works hung at high level, many different ways of presenting what, overall was a coherent body of work. How did that go?

The curation of the show chose not to follow a linear path. Paintings such as ‘Horizon 10%’ did not precede ‘Horizon 20%’. ‘Horizon 44%’ did not sit next to ‘Horizon 45%’. This idea was explored but we quickly discounted it, not because sea rise trends themselves do not follow a linear path (ice melt is not a steady stream, run-off happens in waves, for example) but because Rising Horizon is a painting exhibition, too, and in my practice visual dynamics are key.

Rather than moving through the exhibition fluidly, the eye jumps from one horizon to the next: some positioned over head-height, some below. The curation of Rising Horizon positions the viewer within the exhibition: in the water.

A comment you made on the scale of the works in a previous blog post keeps coming back to me: what you wrote is true of most pieces. You referred to artists who “express environmentalist concerns and perhaps force their argument in bold gestures, while Rising Horizon offers us an antidote to that”. I think you were right in seeing that the work does ask its audience to come in close, quietly, personally. That’s an aspect that is definitely important to me… its intimacy… the attempt to reach each member of its audience as an individual.

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You refer to surfaces, but for those unfamiliar with this body of work, or who might not be fully aware of the sheer range of supports that you have used in Rising Horizon, how would you sum those up?

Motorway signs, tins, advertisement plaques… items that aren’t fragile, built to stand up to time and the elements. Then there are the recycled plastic panels used in four seascapes, which are everyday items: yogurt pots, food packaging, etc., reformed into incredibly durable surfaces. The plastic panels can be treated as wood and sanded, drilled…

…and one in particular that attracted a lot of attention, although it would perhaps be wrong to extract it from the wider body of work as a whole, was a copper boiler on which you had painted… so the sculptural element, or perhaps the two-dimensional writ large on such an unlikely support made quite an impact. Is it possible, yet, for you to get a sense of what all these different dimensions became, as a singular presentation in the form of an exhibition?

It’s tricky for me to objectively analyse the outcome of the show. I can tell you that I am pleased, but I can’t elaborate much more than that. I’m not sure about that yet. Overall, I feel mostly confident in stating that the exhibition has achieved what it set out to. Public engagement has been high, and feedback from those who have visited is that, being in the gallery is an immersive experience, not only because of the sheer volume of paintings (there’s around one hundred and fifty in all) but because of the curation too, and the blue painted gallery wall at the back which seems to move with you as you span the gallery space.

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I notice that the exhibition attracted quite a bit of press interest, and it was The Herald’s critics choice show. There was also some focus on the fact that you find objects in flea markets, salvage yards, antique fairs, and the show was also summed up as, “a new departure for an artist who has made much of his previous work of, on and from found wood.” Obviously recycling or repurposing is an aspect that is central to the exhibition, but there are so many dimensions to address, aren’t there? Not just about process, but theoretically, too. As one article notes, the exhibition is not just about the surface upon which you paint, but your reuse of the objects themselves. Do you get a sense that visitors to the show understood the sheer multiplicity of interests and dimensions that Rising Horizon encompasses?

On a personal level? It’s one thing to research the facts of sea-rise, and more broadly, environmental change, but it’s quite another to present that research to the public. Almost every gallery visitor I have spoken with has engaged with the topic. Understanding the facts behind something you care about is one thing but passing the message on in a coherent way is quite another.

The power that art has to convey such messages is surprising. Entry points have been key, and certainly the most discussed piece in the show has been the painted copper boiler that you mentioned, ‘Horizon 42%’. That piece directly references the warming of sea water. This same percentage is the proportion which thermal expansion contributes to overall sea rise… It was also Scotland’s target: a 42% reduction in greenhouse gas emissions by 2020 – which was achieved six years ago – and a 100% reduction by 2050. Perhaps it is apt that the boiler itself came from a Scottish home… a tenement flat boiler from Edinburgh.

I’ve been asked several times now whether this exhibition makes me an environmental activist, a notion I hadn’t before considered. And my answer is no: I’m an environmentally aware artist, just as we all should be environmentally aware citizens, at whichever level is most achievable for us. Every step counts. In fact, I’ve just launched a petition, seeking signatures to assess interest as to whether there is public appetite for more regular Environment News updates.

Perhaps that’s a good point to end on, then. It’s certainly a stunning exhibition, beautifully and thoughtfully hung, but there is a further dimension here that is also apt in terms of public engagement.

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News Coverage

Rising Horizon featured in The Scotsman, The Herald and The Southern Reporter. Click here to read The Scotsman Magazine (Saturday 9th February 2019).

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“Water is central to David Cass’ art – it has been a focus ever since he left Edinburgh College of Art in 2010, as has his interest in painting on found objects. His most recent body of work, Rising Horizon, develops this productive vein in a continuing exploration of climate change – and the implication of all its devastating effects - as seen through rising sea levels. Here, on plastic food packaging, advertisement signs, pill tins, hook-on racing car numbers, old paint tins, he paints his seascapes, things of beauty in themselves, celebratory, but also more subtly exploring the terrifying fallout of the Anthropocene.

Cass has worked with themes of inundation and destruction for many years, creating paintings, sculptural pieces and overpaintings that imagine inundation on a vast scale, not least in his studies of Venice and Florence. There is something of the miniaturist in Cass’ work, a focusing in on the detail, no matter what the scale – and that scale ranges from the very small to the very large. He finds his objects at flea markets, salvage yards, antique fairs.

The reformed plastic and metal objects which he uses in this exhibition are a new departure for an artist who has made much of his previous work of, on and from found wood. Sometimes the recycling is not only in the use of the material as a surface upon which to paint, but a reuse of the object itself, as with his use of the oil paints in a 100 year old artist’s box, to paint on its deconstructed exterior. The links with his theme are telling.”

— Critics Choice: The Herald, Saturday 2nd February 2019

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“…now, perhaps more than ever, we need artists such as Cass. Artists, that is, who can at once present us with moments of pleasure when looking upon their work, and yet at the same time offer us reference points for understanding the environmental catastrophe that our own actions represent for the very environment that supports and currently sustains us. That the two can co-exist at one and the same time in any single work (or the body of work as a whole), is commendable, I believe. Where once it was possible to ‘take in’ such art from a position of passivity or non-involvement with the wider backstory that often underpins the work, perhaps we should no longer see this as an option, nor a privilege that is wholly relevant for our times.”

— Ian McKay: Editor, Art North

Rising Horizon | Book

£10.00

Publication

The Scottish Gallery has published both a physical and digital catalogue to accompany Rising Horizon, both of which feature on this website, and at scottish-gallery.co.uk/davidcass. The not-for-profit catalogue contains contributions from Professor David Reay of Edinburgh University’s School of GeoSciences, oceanographer and author John Englander and The Gallery’s own Guy Peploe. Purchase a copy in The Scottish Gallery, or by following the link opposite.

Please contact lisa@scottish-gallery.co.uk for further information or to order a signed edition.

Robert Callender, Plastic Beach (re-created items of beach waste: in paper, card and various other materials) 2003 – 2008 | Photo: Angus Bremner | Courtesy of the Estate of Robert Callender

Beginnings
of a Collaborative Project

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Gozitan artist Joseph Calleja and I are bound by an enthusiasm for working with found (gathered, collected) materials. We are also each drawn to the image of water (sea) in our artworks. We’ve maintained a close creative dialogue over the past decade – since sharing studios whilst studying at Edinburgh College of Art – coming together now to respond to the installation work Plastic Beach by artist Robert Callender (1932—2011).

We’re currently in the early stages of producing a set of artworks in response to Callender’s sculpted facsimiles: focussing, like the late artist, on the coastline and sea. Many of our works will present the coast as a casualty of environmental change. We’ve set ourselves the challenge of approaching the topic from unconventional angles – placing importance on the periphery – using the image of a changing land-sea divide as a symbol to present our study. Thus, we have positioned ourselves on a metaphorical coast, the ideal vantage point.

Robert Callender, Coastal Collection (re-created items: in paper, card and various other materials) 2003 – 2008 | Photo: Angus Bremner | Courtesy of the Estate of Robert Callender

The coastline is one of the first victims of rising sea. We might think of sea-rise as an issue lapping at the feet of others’ – a far off, foreign concern. But this phenomenon will soon become local to us all. Oceanographer John Englander states ‘while many may think of the Maldives or Miami in terms of vulnerability, flooding will also eat away at the coast of Scotland. The stunning reality of rising sea level is that all coastal communities will be affected, both large cities and rural areas...’

“Callender’s subjects are pieces of driftwood and various fragments, which come away from wrecked boats, and other material found on the high tide line. At first sight his sculptures look like ‘found objects’, and might almost be interpreted as deriving from Marcel Duchamp’s provocative relocation of various functional artefacts into the world of art. In fact they are incredibly plausible-looking, three dimentional facsimiles made from paper pulp, cardboard, and paint, pigmented and given a texture using peat, saw-dust, and wood ash. Callender has developed craft skills to such a degree that he produces near perfect copies, indistinguishable in the outer structure and surface from the originals. Hyper-realistic fabrications of sea debris, such as Callender’s, have an engrossing power, but they avoid becoming mystically romantic, despite the subject, because of their obsessive resemblance to the originals.”

— Text extract by Andrew Patrizio for the publication A2B

In exciting news this week, Mark Haddon’s first novel in seven years was announced. The Porpoise is an “ambitious and dazzling” tale based on Pericles, Prince of Tyre. Over land, air and sea, richly described layers of time and place fold and weave. Publishers Chatto & Windus (an imprint of Penguin) describe an “exhilarating adventure, an immersive story” transporting readers from the present day to ancient times and back again.

Haddon states “after The Pier Falls was published, my agent commented that I write novels in which nothing happens and short stories in which everything happens. In The Porpoise I seem to have combined both models and written a novel in which everything happens.”

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Top left: digital prototype of the front cover | Top right: full width of the artwork to be converted into jacket form | Below: detail from Folds (gouache on wood, 2016—2018)

As a fan of the author since childhood, I was humbled to have been approached by Suzanne Dean – the extremely gifted Creative Director of the Penguin Random House Group – to work with her on the artwork for the book. We used Folds as our foundation: completely re-working it layer by layer, mirroring the structure of the book itself. Lettering was hand-stencilled and painted in gouache, as were the motifs and stylised porpoise shown here. See more in the printed book in May (2019). It’s been a real pleasure to work on this project, and I urge you all to pre-order.

A deeply affecting and beautifully-written tale about a family – a woman, a man and a child – apparently lost to one another, who must journey through an unstable world, to find a place they can call home.

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Mark Haddon is author of the 2003 award-winning novel The Curious Incident of the Dog in the Night Time, which was subsequently adapted in 2012 for the stage. His most recent novel The Red House was released in 2012 and his debut collection of short stories – The Peir Falls – followed in 2016. I am currently listening to the latter whilst painting, brilliantly narrated by Clare Corbett & Daniel Weyman. Incidentally, I most often listen to books whilst painting.

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I'm delighted to have received this RSA award thanks to these Stacks (or, Portholes). The prize is awarded to the ‘most promising’ artist under 35 in Scotland.

Made from stacked and screwed vintage cylindrical objects — from 8mm ciné canisters to shoe polish tins — the artworks are quite simply a series of imagined portholes, projected at varying heights. Built to be displayed on either wall or plinth, in each arrangement the cast shadow is key. The paintwork is in oil, as with every work in the Rising Horizon series. These works will be shown next in The Scottish Gallery as part of Rising Horizon.

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El Bosque Encarnado | A collaboration with Gonzaga Gómez-Cortázar.

Espejismos | Eco-resin puddles planted & excavated in the Almería arid-zone | 2014 – 2015

You can now see pages of photography, research, actions, experiments and drawings on this site. My working process is often equally as important as the final outcome and so I've always tried to give a thorough overview of where it all comes from. From analogue images of my flea-market surface gathering, to documentation of a forest fire aftermath in the Almería arid-zone, it all filters through the final piece.

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Rain | A short film capturing the arrival of a water-tanker in an arid-zone | 2014 – 2015

The majority of my artworks are either sold at exhibitions or by commission, though I do keep a stock of small-works & studies available for sale online. Generally, these are works that are not part of a current exhibition program and so there is no conflict with active projects.

Almost every artwork I've ever made has been concerned with water in some way...

...and through online sales I – we – can support a groundbreaking charity that has already secured safe water for 7,347,032 people in need. Many of the paintings available for sale here carry that gift of safe, clean water. Because nobody on earth should die from dirty water.

If this concept has swayed your decision to make a purchase, then please make use of the following code at the checkout for free postage: WATERCOLOUR.

“Without exception, each of David Cass’ artworks describe water in some way. From straight depiction of seas or pools to exploration of environmental extremes in drought and inundation. His most recent works present the issues of modern day Venice in the face of rising sea levels and mass tourism. He works almost exclusively with found materials: as a type of alternative canvas on which to paint.”

A: Would you say your creative process begins when sourcing your found objects?
DC: My artwork is heavily process based: the act of gathering is equally as important as the action of painting or pulling research together. Travelling to gather antique items and objects is, yes, the starting point: days spent hunting down old wooden items, often from flea markets or antique fairs in France, Belgium, Germany, Spain, Italy … sourcing not only surfaces (substrates) on which to paint; but also inspiration from each location. Many of my artworks are site-specific. Some of my recent paintings of water were created using wooden materials (or paper ephemera) found in derelict homes in an arid-zone– abandoned due to a lack of water – thus pointing towards a process that is already in motion.

A: Do you have a clear concept in mind before finding your materials? Or do you let the materials lead the direction of the piece?
DC: By painting water (an endless motion) almost exclusively, I reference the past-lives of the objects with which I create my artworks. I use table-tops, doors, shutters, coffee-grinders and matchboxes to paint on: items used day-in-day-out, as part of a routine. A domestic ebbing and flowing. The manner in which I paint further enforces this theme: I work in layers, using deliberately repetitive marks, and so there is a clear link between surface and subject.

A: What is it about the nature of water that inspires you?
DC: Water lies at the core of all life, but so does balance. Water in abundance brings danger, yet when it’s in scant supply the same is true. My artworks aim to describe a semi-imaginary world, yet one which draws upon fact. This world is one that pulls past events to the present day, and does not distinguish between locations. In this world, sea-rise exists alongside desertification. Flooding exists alongside drought. Environmental extreme events from the previous century occur simultaneously to modern day extremes. Extremes being the operative word: for these works do not set out to convey the transient happy-medium, even if many of their aesthetics describe stillness.

A: How did your scholarship to Florence influence your practice?
DC: Primarily, the Royal Scottish Academy scholarship opened my eyes to Europe. To living and working on the continent, and bringing ideas home. Thematically, the scholarship introduced me to the history of a past environmental-event: a flood which devastated Florence in 1966. Since embarking upon a project exploring this catastrophic inundation, I’ve never looked back.

A: Your recent works have been concerned with the rising sea levels of modern day Venice. How do you aim to communicate this deeper level of ethical consideration within your work?
DC: My Venice project is a direct step on from my Florence flood investigation. Venice is Europe’s first clear victim of sea-rise: the city is the first to be almost completely inundated. Residents describe Venice as “dying amongst the waves of the Adriatic.”

Conversely, the Spanish province of Almería is the first European location to witness desertification. We are witnessing clear and scientifically proven environmental change in these locations. I aim to use these two opposite environments as a springboard, and basis for my work; which encapsulates painting, film, photography, documentation (digitalising of ephemera which relates to these settings) and writing. The result is not only an exploration of “wet” and “dry”, but also a poetic investigation of issues which will soon expand from being of local concern, to being widespread. My works range from being studies of fields in which crops have failed in Almería (and interviews with affected locals); to being painted examinations of Venice’s rising waterline or polluted lagoon surface, and the impact the rise is having on homes (and inhabitants).

A: You had an exhibition at The Scottish Gallery, Edinburgh, earlier this year – could you talk about the work displayed and how this show has helped to further your career?
DC: In January 2017 I had my fourth solo show with The Scottish Gallery. The gallery (in my hometown) took me on at my degree-show in 2010. Every artwork I’ve created since graduation aims to be connected through this illustration of water, either in its presence or its absence. As my practice has developed, simple depictions of ocean (transferred from hand to rejuvenated surfaces) have multiplied and increased in size, age and ambition. My painted bodies of water have filled and risen: thicker marks and more permanent paints have become flooding and over-spilling. From imagination in the case of my Overpaintings, through to historical fact in the case of my Florence, Venice and Paris flood works. I’ve exhibited key stages of the development process with The Scottish Gallery, and my next show with them will be in early 2019.

A: What projects are you working on currently?
DC: I’m currently spending time researching and sorting through unrealised project ideas. Most of this takes the form of film and photography (often my media of choice as a starting-point).

I'm delighted to be featured in two new Scottish Gallery publications this month, marking their 175th anniversary.

175 features a new oil painting 'Split'. This work illustrates a divided English Channel. I'll leave this with you to interpret.

Portrait of a Gallery features a set of my Venice works. ‘These fragments of beauty are observations of the mundane, they paint a picture of time passing, and of the multi-layered past that is Venice’s history, the aesthetic quality of each painting, a subject worthy in itself’ — Tommy Zyw. These works reference the rich catalogue of Scottish artists who have made Venice their subject.

David Cass's works exhibited alongside Jenny Pope's during Connections

“As a celebration for our 3rd Anniversary we bring to you an engaging mix of established and emerging artists, showcasing the best in Painting and Sculpture. Introducing seven artists with work so diverse yet there is a weaving thread to entice and enlighten. They all, in their own way help us see and make a deeper connection with the world we live in, both internally and externally. As with the seasons this exciting spring show takes us on an evocative journey.”

— Tatha Gallery

Joan Eardley: Building, Palazzo Type (1948) Gouache 49 x 42 cm

I'm thrilled to be able to include Joan Eardley's 1948 Florence watercolour in Foreign / Familiar.

The works that form this exhibition are observations of the foreign ‘everyday’ through often overlooked architecture and city elements, and indeed scenarios that might not spring immediately to mind upon consideration of these locations. This is taken to a further extent in Eardley’s ‘Building, Palazzo Type’, for it was not only in Glasgow that the artist sought out derelict or dilapidated built-environment subjects. In this watercolour the noble proportions of a Florentine riverbank palazzo stand — quite unfamiliarly to the ancient structure — on unstable foundations, at a precarious angle, the rubble of restoration work all around, and with another isolated (spared) building standing exposed behind.

Eardley here is documenting the extreme restoration works necessitated by the devastation Florence endured at the end of the Second World War. The Germans had blown-up buildings along the river and each of the bridges that crossed it, except for Ponte Vecchio, which Officer Gerhard Wolf had ordered to be spared for personal reasons. Eardley’s watercolour depicts Piazza di Santa Maria Sopearno — along Lungarno Torrigiani and just behind Ponte Vecchio — and focusses on the still-standing Palazzo Tempi. This work therefore celebrates this steadfast ochre palazzo, one of many that line the riverbank, built some-time in the early fifteenth century and then restored three hundred years later to take the form that Eardley describes. Perhaps spared because of its close proximity to Ponte Vecchio, this beaming structure — owned by successive Florentine noble-families — has stood resolute throughout a turbulent history of siege, political struggle, war and repeated flooding*. Eardley’s painting presents this bastion as etched into that same history and memory, as familiar to the city’s inhabitants today as it would have been four hundred years ago.

*During the lifetime of Palazzo Tempi, Florence has endured seventeen small floods, sixteen large floods, and seven exceptional ones: most recently that of 1966, as seen in [Cass’s] Florence in flood project.

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A huge thank you to everyone who came along to The Fruitmarket Gallery on Friday evening (20th January). I'm incredibly appreciative. We heard an extremely well considered talk from Edinburgh's Lord Provost, who described the reasons behind presenting this Florence project in Edinburgh, and from George Donald RSA, a senior Academician at the Royal Scottish Academy.

Please feel free to contact me directly for further information on the project, via the contact page. The Fruitmarket Bookshop in Edinburgh stocks a small number of the books. Thank you Allison Everett for such fantastic organisation.

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“Ex ungue leonem the proverb proclaims: from the claw [one comprehends] the [whole] beast. David Cass’s Venetian paintings operate with similar inductive power, providing us a set of visual microhistories of this redolent city.”

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On wooden panels lush with palpable paint—corals, grey-blues, and reddish browns that invoke the plastered facades and steely water—we encounter the quotidian surfaces of many-layered Venice, details of deliberate though understated design and, equally so, of the multifarious accidents inflicted on weathering plaster and stone. Doorbells and nizioleti (those white rectangles on which street names, or directions, are inscribed), iron reinforcing clamps in walls, the characteristically red house numbers, a cropped bit of window-sill or door frame—all these offer us relief from Ruskin’s daunting invocation of the Doge’s Palace as “the central building of the world” and of Venice as the crossroads of world cultures. We are allowed to reconstruct Venice from the traces of design so thoroughly imbued into surfaces that seemingly random fragments acquire status as compositions. The experience resembles that of wandering the city itself as disoriented (despite the frequent directional arrows on the walls) pedestrians, blinkered amidst tall alleyways fixating as we amble on the manifold messages left at eye-level. The ubiquity of water prevents it from orienting us; we meander, both foot and eye.

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The forms and the letters jostle on their panels, re-enacting the Renaissance paragone, the comparison between the visual and the verbal. The painterliness of Cass’s surfaces mimics the textures of rough painted plaster or, alternatively, invokes the famed impasto of Titian and his fellow artists. At times the free working of the paint verges on the non-representational, at which point, ironically, the insistent line weeded out of the painter’s repertoire by Giorgione (following Leonardo), is reasserted by Cass, in his case the sharp horizontal that separates water from wall, liquid from solid, a line that threatens to dissolve more readily than it resolutely defines.

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Venice is the antipode to modernism, a place of peeling surfaces and eroding thresholds, balanced precariously on those unseen and untrusted wooden piles, pounded into mud by the first settlers, refugees from the mainland. Now its inhabitants flee back to the mainland, while the Adriatic threatens to take back what it once had lent. Brigadoon-like, Venice has both travelled through the centuries as though preternaturally shielded from modernity, and has now reached a point of particular danger. Cass’s work heralds the deterioration and, in subtle ways, highlights the plight of the sparse natives, their names still affixed to many of the doorbells and their starkly simple protests against the cruise ships inscribed on the walls. His paintings both acknowledge Venice’s timelessness and accede to Venice’s status as highly endangered—though primarily they allow us to see the city, a city so freighted with the memories, as a place where art can still be made, on the basis of seeing rather than remembering, and moreover, where art can be made in a distinctly contemporary mode, finding abstract qualities in the empirical world and empirical qualities in abstraction.

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“David Cass conjoins the randomness of the snapshot with the picturesque allure of paint and paper textures, the blankness of surface with the evocativeness of names and numbers, and the stillness of nature morte with the promise of a Venice that might again become vibrant.”

Patricia Emison is the author of several books on the Italian Renaissance, most recently The Italian Renaissance and Cultural Memory (Cambridge University Press), and Leonardo (Phaidon Colour Library).

I heard the upsetting news of the death of author, gallerist and historian Giles Waterfiled this morning. I am here in Florence, launching the book (Perimetri Perduti) that he contributed to – not only through his kind support of the project and encouragement – but also in the form of a perfectly succinct and concise text that speaks of undocumented evidence and traces. Giles refers to the disappearing traces of Florence’s 1966 flood (traces of a nature less formal than plaques or reportage). One that threatened to repeat over this dark weekend as the Arno raged and the city grew feverish.

The same cannot be said of the marks (in this case impact of great cultural significance) that Giles etched onto our earth. No zealous citizen (as he puts it in the below text) can erase his words. A truly inspiring person who touched many, many lives and who I wish I’d known better, and who will live on in many forms of inspiration through his life’s work. I know that the British Institute of Florence (and particularly its director Julia Race) will be thinking of him, it’s thanks to the Institute that we met and his voice was added to Perimetri Perduti. I know also that his dear friend Candia (McWilliam) will be, whose words are now bound with his for good.

A friend sent this article, for your further reading. I've released on this blog below, his text from the book, A Vestige. Read in full screen by clicking the spreads below.

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I'm delighted to present Perimetri Perduti. This has been a massive task, but absolutely worth it. The book will be launched in the British Institute of Florence during November 2016 (opening Nov 4th), and in The Fruitmarket Gallery in Edinburgh soon after (January 20th). A huge thank you to all those who have contributed to the book, and supported it, you know who you are I hope.

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“A combination of records of and responses to the catastrophe of November 1966, Cass’s thoughtful and moving pieces are all the more powerful in that they are made by someone who was not yet born when the flood waters hit Florence.”

— Julia Race: Director of the British Institute

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Perimetri Perduti by David Cass

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Perimetri Perduti by David Cass

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Two Thames Barrier studies (each approx 11 x 8 cm unframed: gouache on card)

If not for the Thames Barrier, during periods of extreme high tide and severe weather, London would look very different.

The Royal Watercolour Society - for its Autumn exhibition 2016 - has briefed members to create artworks that explore the notion of a sense of place, specifically within the location of London. To me, a sense of place is something sensed and not usually identifiable, it's something intangible, a culmination of emotional and sensorial reactions to a physical environment to which I am connected. But taken literally, the event of physical inundation - a flood for example - can completely destroy one's sense of place within a location they [once] understood. 

When a river bursts its banks, its 'wetted perimeter' is no longer where it should be. As water travels upward and outward, the map of the city changes dramatically. A rise in water level even of only a few inches can mean the difference between ground level, and the invasion of someone's house. Worryingly, the Thames Barrier has been in 'record' use in recent years (from early December 2013 to the end of February 2015, its steel gates were closed "a record-shattering 50 times, preventing the river from running riot. Previously, the barrier had closed only 124 times since it began operating in 1982" - The Guardian).

As we are witnessing ever more frequently, in locations around the world, London is not alone in being vulnerable to flooding. A storm surge generated by low pressure in the Atlantic Ocean sometimes tracks eastwards past the north of Scotland and may then be driven into the shallow waters of the North Sea. The surge tide is funnelled down the North Sea which narrows towards the English Channel and the Thames Estuary. If the storm surge coincides with a spring tide, dangerously high water levels can occur in the Thames Estuary, and if not for the Thames Barrier system, London would face a frequent and dangerous set of issues.

The threat has increased over time due to continuous rise in high water levels over the centuries and the slow 'tilting' of Britain (up in the north and west, and down in the south and east) caused by post-glacial rebound. The barrier was originally designed to protect London against a very high flood level up to the year 2030, after which the protection would decrease, whilst remaining within acceptable limits. At the time of its construction, the barrier was expected to be used 2–3 times per year. It is now being used over 7 times per year.

In the 1928 Thames flood, 14 people died. After 300 people died in the UK in the North Sea flood of 1953, the issue gained new prominence. Early proposals for a flood control system were stymied by the need for a large opening in the barrier to allow for vessels from the London docks to pass through, the Thames Barrier was eventually completed in 1982.

Two of my Thames Barrier Studies will be exhibited as part of London: A Sense of Place, in Bankside Gallery 7th October - 5th November.

1928 Thames Flood

“Inch by inch, floodwaters lowered, as daylight gradually left Florence on 4th November 1966. Oily black perimeter lines marked the water’s journey down façades: from a height of four adults in Santa Croce, each stage of this slow recession was charted in level horizontal lines of varying thicknesses. This process was repeated, unbelievably, over hundreds of acres. Clocks throughout the city sat stationary, reading 7:26 AM, when power in the city had been lost as the force of the inundation took hold that morning.”

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The force of the inundation had been relentless as it pounded streets, ripping apart ground floors and basements, shopfronts, signs, generators, garages, cars. It tore the city apart from the ground up over the course of an entire day. The devastating and deadly force of black water. Had it not been Armed Forces Day on the 4th (a national holiday), the streets would surely have been busier as the tides entered the city early in the morning. 

I've dedicated the last couple of years to researching and responding to this catastrophic historical event (drawing parallels with weather extremes of today). Through this research I've come across all sorts of ephemera (newspaper articles and clippings, magazine features and appeals for help, short-run flood related publications...) but by far the best is these photographs. I purchased this set of prints last year, from a vendor who did not know the history or provenance of their lot. I've asked around and searched extensively for evidence of these images (by an unknown photographer) in other archives, with no results. If you know anything about these images please do get in touch. I'll be featuring a selection of these scanned prints in my book Perimetri Perduti set for launch on November 4th this year: the 50th anniversary of the flood.