Chased Chopped Stabbed Blasted 2007 is reviewed for craftscotland by Dale Idiens

Anyone wanting to see something different should make their way immediately to rural Perthshire and find this well signposted exhibition, only a few miles off the M90 from Kinross.

All the exhibitors are members of the Scottish Lettercutting Association (SLA) which was formed six years ago. The SLA’s first exhibition, using the same title ( to indicate their working processes) was held in Edinburgh in 2004. The show in Auchtenny has come about because two SLA members who live locally saw the potential of the gallery for showing their work.

The Nigel Stacy-Marks Gallery is a large, light, modern and airy space, normally hung with 19th century Scottish paintings, but lending itself remarkably well to contemporary objects. The lighting is cleverly arranged, enabling even shallow letters cut into dark stones to be seen clearly, and a large glass disc (Jane Raven) is lit so that its lettered verse by Vita Sackville-West reads as a sharp shadow on the wall behind. The generous space enables each exhibit to be fully appreciated, whether freestanding or wallmounted, yet offers intimacy too, with a comfortable area for visitors to sit with a coffee and browse the portfolios of the makers, and read the full texts of some of the literary sources used in the lettercutting.

The artist’s understanding of his or her medium is fundamental in all the arts. In lettercutting the love of letters, words and texts is an added dimension. Some lettercutters use only letters or single words to make their impact, some create their own phrases and poems, and some borrow (with acknowledgement) the words of others. Chasing, chopping, stabbing or blasting into wood, stone, glass or metal requires remarkable skill and precision to do well, concerned with removal rather than addition. As a consequence lettercutting is an unforgiving act, and the smallest error can never be retrieved.

Technically, the lettercutting in this exhibition is all of a high standard, yet the forms and styles of work vary greatly between the artists and even within the practice of individuals.

The majority of the exhibitors use stone, often prepared and finished, as if a blank page for the writing of the artist. Jane Raven’s work in glass has already been referred to, but her work here is mostly in stone, including the virtuoso gesture of two matching slate panels each bearing  the same phrase: ”A Stitch in Time Saves Nine”, with the text incised on one and in relief on the other. Her flowing, liquid style of lettering creates a satisfying pattern on the stone. Ian Newton’s lettering is exceptionally clear and linear, and employed to dramatic effect on a glossy black headstone entitled “Harvest”, the verse flanked by a sheaf of barley and the scythe of the Grim Reaper. The largest piece in the exhibition is his too; a massive blue slate “Buddha Table”, which sold, as several other exhibits did, at the opening reception.

Sometimes the unusual shapes and colours presented by stones are utilised, as in the pieces by Alex Holmes where the placing of letters or text can work with or against the form of the piece.

Several artists also use natural, unfinished stones, like Ian Evans-Boiten’s beach stone from Orkney. But he also works at the other end of the scale as it were, sculpting a perfect three-dimensional  ”Angels Wing” in white marble as the base for a text.

Several of the artists add decoration to stone. Gillian Forbes enhances some of her work with gilding, most spectacularly in two wall installations, the largest of which represents an oak tree with individual leaves in green or gilded slate suspended above a stone ‘trunk’ bearing an inscription. She also paints colour into incised decoration, and adds sections of high relief carving, for example “If the Sky Falls” includes feathers floating beside the text, as the incised words drift and drop down the creamy limestone panel.

Frances Pelly uses paint to enliven the lettercutting on her hanging panels, which consist of three or more used Welsh roofing slates suspended one above the other. The most unusual, ”Word Cypher” has slips of torn paper, some bearing written words, stuck on to the slates to give the impression of paper pages fossilizing into stone.

Roger Hall works largely with wood, and shows an elm table, and panels of oak, ash, sycamore and walnut. His lettercutting has a pleasing asymmetry and quirkiness, and he takes pains to acknowledge the sources for his words by hanging framed explanatory labels beside his exhibits.

Wood is also the choice of Robbie Schneider in his oak piece, ”Shine”, which has a striking sculptural quality, and he also provides the only metal example in the show, a panel of mild steel.

Lettercutting as an art form is not well known, and the chance to see such a large and beautifully mounted display of over 60 works by eight expert practitioners is a treat not to be missed. Those unfortunate enough to do so must hope that it will not be another three years before the SLA exhibits again.

Chased Chopped Stabbed Blasted 2007, an Exhibition of Contemporary Lettercutting, is from 7 to 22 September 2007 at the Nigel Stacy-Marks Gallery, Auchtenny, Path of Condie, Perth PH2 9DW.  Open daily 10am to 5pm. 

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