35 & Counting: Ross Sinclair

To showcase the 29 artworks generously donated for our exhibition and online auction '35 & Counting', we have asked each of the artists to remind us about their involvement with the gallery and what a residency means to them. 

 ’35 & Counting’ marks the gallery's 35 year legacy of supporting emerging artists.

All proceeds of the online auction, launching on Thursday 16 February (5pm), will support our artist residency programme.


Ross Sinclair's ‘Journey to the Edge of the World’ (2000)

Ross Sinclair

Ross Sinclair is an artist, writer and musician and is currently Reader in Contemporary Art Practice in the School of Fine Art at The Glasgow School of Art. He is best known for his ‘Real Life’ project initiated when he had the words tattooed in black ink across his back in 1994.

The ‘Real Life Project’ has been disseminated across a range of exhibition and publication contexts, positioned against a critical framework of contested models of audience participation, ‘Everyday Life’ and ‘The Real’.

Ross showed an immersive installation ‘Journey to the Edge of the World’ at Aspex in 2000. The work transformed the space into a stunning representation of the island of St. Kilda, reflecting on its social and political history.

What does a studio/place to work mean to you?

"Like the inside of your head spread out around you"

How have funded residencies supported your professional development, and what impact have they had on your work?

"I have undertaken a number of funded residencies over the years and they have provided invaluable concentrated time to fully immerse yourself in the context of the residency or the context of your practice, without debilitating external pressure on time/money/responsibilities".

About the artwork

Green Real Life (Aspex Cluster)

  • Oil/Acrylic/MDF/T-shirt/Book/CD/Green Vinyl/Gatefold Album/Pamphlets/
  • Badges/ Beermats/Skip Cap
  • Dimensions approx. 2 x 2 m

 Auction code: 27-RS

“In the spirit of ‘35 & Counting’, Green Real Life (Aspex Cluster) takes a diverse cross section through my work over the past 20 or so years, using the colour Green as a methodology for construction of a new work. In one sense this is arbitrary and random.

However, in the contemporary world, Green has never been more imperative. This is a mechanism to reflect on the wide range of formal approaches to art practice in this cluster of works, oil on board, vinyl record, book, cd, badges, booklets etc. I’m interested in reflecting on art practice over a long period, like the longitude of the gallery itself and how this is constructed through a broad range of cultural activity and forms, in the gallery and individual practice and how this can develop new possibilities for the artist and viewer and institution.”

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