I'm delighted to have this artwork on the RSA walls at the start of this year. One of my personal favourites from the past couple of years. Tap the poster to visit the SSA website. I don't yet have any photos of the framed piece, but I can tell you that an excellent job has been done by Detail Framing Studio, Edinburgh. Image size: 73 x 50 cm Framed size: 85 x 62 x 3 cm (approx) 2024 Available from the exhibition The Society of Scottish Artists Annual Exhibition showcases a

Ithell Colquhoun’s work stands at the crossroads of art, magic, and social reform. Rooted in landscape, myth, and the living intelligence of matter, her paintings and writings speak powerfully to contemporary longings for depth, enchantment, and ecological relationship.

Different landscapes in our sense of the world also speak to us differently, and here it serves us to consider the aspect of ‘North’ in Phillips’s work. Made on and of the chalklands of England’s South Downs, then nurtured and moulded in art school in South Wales (where his dissertation for his degree in Fine Art provides us with another clue -  ‘Remedy in the Affliction: Beginning with the Wound’) the intervening years have slowly led the artist Northwards.

The work of Anselm Keifer has been an inspiration to my own since I first began to create visual art. This superb exhibition of varied pieces from earlier in his career brought me in touch with the work in a new way, and also evoked memories of perhaps my most significant encounter with an artwork to date. Ashmolean Museum, Oxford, England Anselm Keifer — Urd, Werdandi, Suld (Die Nornen), (The Norns), 1981 - Oil on canvas About the exhibition Anselm Kiefer: Early Works is a

I love this Taschen volume. I see in these pages evidence that even when partly instructional or diagrammatic, to approach the opus through creation of imagery with sincerity of intention in one's heart, is an act of transmutation. Mysticism and alchemy approached through art is a truly fascinating area, and has been at the heart of my own work from the beginning. Andrew Phillips is a Visual Artist, Psychotherapist, and Creative Mentor. Thank you for reading this article. You

...in a world that is more often than not associated with a harsh and destructive bottom line." It's scary stuff! The Soul cares not for constraints, it has in its sights that which seeks to find expression through you, and demands the call is answered as best you can. Yet, the human being is caught between an insistence on creative freedom, and the Saturnian principles of limitation, whether they be personal, cultural, material. David Whyte describes the inner fire of creati

"If explanation is the self-cure for curiosity, we have a lot of explaining to stop doing; if desire is the refuge from wide-angled attention, we have a lot of wanting to relinquish." Attention is something we give and receive, and is in turns needed, wanted, and feared in its various forms. In psychotherapy we notice that a symptom, a state of mind, is something that claims our attention in a particular way, and as Adam Phillips suggests, psychoanalysis (and by extension I a