2017 Masters Degree Show
Glasgow School of Art
2017 Trim, RGI Kelly Gallery Glasgow
2015 Emergence Edinburgh Sculpture Studio
2014 Love + the Art of Retrieval The Gallery Elgin
2014 RSA New Contemporaries Edinburgh
2013 undergraduate Degree Show Moray School of Art
Love + the Act of Retrieval
An exhibition with artists Caroline Inckle and Naomi Ojima,
From dreaming of Oneness
meet with the physicality of life
rest on the grass and know all has been accounted for
experience meeting the world in its colour
kiss me quick
then rest a while on the grass
Gather up all that is lost and bring it to me
and move from dark to light
Know that you changed my life
Masters Degree Show
1-7 Sept 2017
This body of work is a continuation of my interest in the physical and non-physical. Predominantly I worked in the Flow country near Caithness liking its materiality and expansiveness. Initially my field research involved walking in the landscape, using the body as a tool for measuring time and space, making 'marks' on rolls of paper. This lead to unconscious drawing of perceived landscapes through sound, meditation and memory.
I was particularly interested in small eroded areas within the peat landscape.These depressions were either filled with water or slightly marshy holes. It brought to mind the idea of the landscape as a container holding history, myth and memory. In an abstract way I equated this to the feminine as a potential container of life. The white plaster imprints are an exploration of this notion.
Untitled digital collage Installation 274x230cm
'Walking the Landscape' Digital collage 152x112cm
Untitled 3 plaster vessels 86x80, 96x66, and 59x54cms Wall drawing 652x35cm
Untitled peat vessel 10x10cm
Still image from 'Lichen Woman' Film 2.14mins loop
RSA : New Contemporaries Show
15th Feb - 12th March 2014
Lyndsay Hyslop demonstrates the facility to imaginatively re-contextualise materials, her practice expresses a sense of transformation. There is an oscillation between the material and the immaterial at work in Hyslop's pieces, from the ethereality of Exhale No. 2, to her more earth bound photographs. In Exhale No.2 she effectively paints with soil and flour, creating a subtle tonal graduation from dark to light, a gradual dematerialisation from the heavy, organic soil to the lightweight powder. Exhale No.2 invites the viewer to breathe out and leave the body behind. The beautifully crafted birch ladder offers a route to a lightness of being that could be described as transcendent, breath lifting us from its apex to the light.
A series of black and white photographs acts as a counterpoint to the ethereal lightness of Exhale No.2 , these images show the female form transformed into trees and firmly rooted to the spot. Hyslop's photographic images go in search of the elusive trace of the female in nature; she is expressed in bark and timber, moss and leaves. The female form is metamorphosed into wood and these uncanny images of tree-women recall the ancient myths of Myrrha and Daphne, transformed into trees as a redemptive gesture by the gods. The photographs play subtly with ideas of a flight into nature alongside the sense that the natural world is animated by a female divine. The immaterial is embodied, bound in matter (materia), which carries in its etymology both mother and timber, tellingly it was the tree body of Myrrha which gave rise to Adonis. So, however beautiful these images are, they are also tinged with sadness since they convey natural forms which are haunted by the female spirit forever trapped in wood, creaking in the forest as the wind blows.
Transcript by Dr.Gina Wall Curriculum Leader for Moray School of Art. Taken from Exhibition catalogue.
June 2013 Moray School of Art
Body of work included 2 installations, 3 bowls, 2 handmade books, and 3 photographic prints.
By using nature as a substitute for myself I am taken from a constructed idea of who I am into a more expansive one.
By using the teachings of Sri Ramana Maharshi's self enquiry and Ovid's epic poem 'Metamorphoses' throughout as a means of introspection. By asking 'Who am I?' and relating to Apollo's pursuit of Daphne or Myrrhs shame the work has evolved.
Her bones did into timber turn,whereof the marrow was
The pith,and into waterish sap the blood
of her did pass.
Her arms were turned to greater boughs, her
fingers into twig;
Her skin was hardened into bark.