About the Artist

Fionna Carlisle

Foreword by Allan Little

BBC News, Africa Correspondent 2000

Fionna Carlisle does not paint from photographs. She paints from life. And if you will surrender to her your face, your sense of who you are, she will capture you as she sees you, not at this moment in time, but at this point in your life, with all that you have seen and known and done, woven into the strokes of her brush.”

Sitting for a portrait is a curious exercise in intimacy and trust. You are exposing yourself to someone you hardly know, looking them in the face and inviting them to interpret you to the world, to capture you – in colour and shape and brushstroke – in a form that will probably outlive both of you. You are almost naked – sometimes literally so. You are surrendering control over the way you present yourself to the world, handing yourself to another, not only in the immediacy of the moment – here and now – but to posterity. It is not the momentary surrender of the holiday snap but something much more lasting, more probing.

I like my face. It is not handsome or fine. It is not even symmetrical. But it is mine and when I look at it each morning in the mirror I catch glimpses of my father and mother. The man who looks back at me connects me every day – every moment – with those two loving, nurturing souls. And he has added to his physiognomy things of his own. His face is a map of his life. I know what he has seen through those eyes that meet mine, what he has know of this worked – the sorrows and joys he has chalked up thus far – and I know how this face reflects them and holds them in memory. I like his crooked unhandsome smile, for it is a reflection of the man I hold myself to be.

All this you surrender to a stranger when you sit for a portrait. I loved what I knew of the relative stranger who painted me. Like me, Fionna Carlisle had spent years in the Balkans. There was something very unScottish about the way her paintings used the Aegean colours of sunshine. I had seen here evocations of Greece the entire spectrum – from the pale white transparency of dawn to the burning crescendo of mid-day.

She could paint what I thought of as sun-scapes. She could make blue the colour of warmth. From time to time, during our sittings, she would answer the phone and conduct an animated conversation in Greek. She seemed not to know that she wasn’t using her native tongue. She seemed not to know that she was in her garret flat in the Grassmarket, with the grudging daylight of a Scottish winter spitting its pallid rays over the slate-grey of old Edinburgh.

So, I gave her this face of mine, surrendered all that I thought it stood for, for her to interpret.

Choosing how you will appear – what you will wear; whether you will sand or sit or lie prone; whether you will look the artist in the eye and with her all those who will see the portrait in the future, or whether you will gaze into the middle distance, or read a book – these choices that you make at the outset constitute the beginning of your engaging with the process of being portrayed. They are your consent, your complicity.

And – sheepishly at first, with much Scottish self-consciousness – I did begin to engage with the thing. I would sit for forty minutes, forty-five perhaps, at a stretch. Sometimes three or four stretches in a day, sometimes two or three times in the week. A ghostly shadow took shape on the white canvas. I saw myself, little by little, emerge from nothing, a single line here or there often radically changing the aspect or shape or mood of the image. It was not the man who looks back at me in the mirror, for your mirror face is never the face that others see.

In the year Scotland got its first parliament in three centuries I took this sense of myself and myself and put a kilt on it and I sat for Fionna in the oldest part of Scotland’s old-and-new capital. It seemed a fine and happy way to connect this face of mine to what was happening in the place that matters to me the most; a way for me to say that for all the years of wanderlust, for all the time spent in impossible places, at impossible distances, this country, at this time, is where I belong.

There were times when it would seem interminable, when a forty minute session would seem endless, Fionna would walk around the room, brush in hand, looking at me from this angle and that without the slightest indication that she was ready to make contact between brush and canvas and I would think ‘get on with it!’ as though paining a portrait the same thing as paining a door or ceiling.

At other times I would disappear for weeks on end, sit for a single session, preoccupied and agitated and then disappear again. Each time I came back and climbed the circular stone stair to her flat, the canvas was there. This weird unfinished representation of me – part manufactured, part quite startlingly organic – was waiting.

And in the end you engage with it fully. I began to think of the portrait not as Fionna’s work but as ‘ours’. One afternoon Fionna asked me whether I’d like to listen to the radio news to relieve the boredom of sitting, and she laughed out loud when I said no, that I thought this would spoil my concentration, interfere with my participation in this thing we were doing.

A photograph captures you as you are in an instant in time. Fionna Carlisle does not paint from photographs. She paints from life. And if you will surrender to her your face, your sense of who you are, she will capture you as she sees you, not at this moment in time, but at this point in your life, with all that you have seen and known and done, woven into the strokes of her brush.

Fionna is an acclaimed artist based in Scotland & Greece

She has shown in London, New York, Chicago, Paris, Moscow, Brussels and Xania, Crete.

Her major exhibitions have included Energy: North Sea Portraits at the Scottish National Portrait Gallery and The Art of Intelligent Ageing in association with the University of Edinburgh.

Fionna has painted high-achieving business people, scientists, academics, law lords and politicians.

She is currently working with Creative Scotland to produce a series of portraits entitled Women with Form to be accompanied by a filmed documentary.

Many of her landscapes are inspired by her love of Greece and particularly the island of Crete where she maintains a home.

Born in Wick, in the north of Scotland, Fionna studied at Edinburgh College of Art winning a post-graduate scholarship and a Scottish Arts Council bursary to travel and work in China.

She has been artist-in-residence at he Caledonian Brewery in Edinburgh an an exchange fellow at the University of Edinburgh.

Fionna now works between Chania in Crete and Edinburgh.

Against All Odds: Scottish Women Can Paint – Interview with Fionna Carlisle

Solo Exhibitions

2019 – Festival of Politics, Art of Intelligent Ageing – Scottish Parliament
2017 – Portrait of Mr.Colin Easton
2017 – Portrait of John Craxton featured in new publication by Ian Collins ‘Charmed Lives in Greece – Ghika, Craxton, Leigh Fermor’
2017 – First showing at the Kilmorack Gallery, Beauly with some new work which will run from May 27th till August 2017
2014 – Portraying Ageing, Chaucer Room, British Library, London
2013 – Medical Research Council Centenary Debate, University of Edinburgh
2011 – ‘Energy: North sea Portraits’, Scottish Parliament, Edinburgh
2009/10 – Edinburgh Science Festival Drawings – Edinburgh University; Sir Michael Atiyah at 80
2008 – ‘Energy: North Sea Potraits’ Total HQ. La Defense Paris, Duff House, Shetland Museum, European Parliament Brussels
2007 – Scottish Arts Club, Portraits & Landscapes
2007 – ‘Energy: North Sea Portraits’ Aberdeen Maritime Museum, Highland Region tour
2006 – ‘Energy: North Sea Portraits’ Scottish National Portrait Gallery
2001 – Archeus Fine Art, London
2000 – Crete & Caithness, Northlands Festival, St. Fergus Gallery, Wick & Ackergill Tower
1998 – Portraits on Paper, Scottish Arts Club, Edinburgh
1997 – The Scottish Gallery, Aitken Dott, Edinburgh
1995 – The Scottish Gallery, Aitken Dott, Edinburgh
1992 – 369, London
1991 – Calart, Geneva
1990 – Forum, Dusseldorf
1990 – Mayfair Fine Art, London
1988 – The Barbican Centre, London
1986 – 369 Gallery, Edinburgh
1984 – The Traverse Theatre, Edinburgh
1982 – 369 Gallery, Edinburgh
1981 – The Fine Art Society, Glasgow
1981 – Lothian Region Travelling Exhibition
1981 – 369 Gallery, Edinburgh
1978/79/80 – 369 Gallery, Edinburgh

Collections

Aberdeen Art Gallery and Museums
Scottish National Gallery of Modern Art
Scottish National Portrait Gallery
University Of Edinburgh
House of Commons Collection
Max Planck Institute of Mathematics, Bonn, Germany
3 I
Art in Healthcare, Scotland
Chelmsford Arts Gallery
Conoco Philips Petroleum
Contemporary Arts Society
Coopers & Lybrand
De Beers
Dundee Art Gallery
Edinburgh City Arts Centre
Edinburgh College Of Art
Fettes College Edinburgh
Glasgow Museums & Arts Galleries
Highland Regional Council
I.B.M.
Leeds Education Authority
McLean Arts Gallery & Museum, Greenock
Motherwell District Council
Netherland Bank
Robert Fleming Holdings Ltd
Scottish Arts Council
Stirling University
Additional Works in many private collections in Britain, Europe, & North & South America

Education & Awards

2012 – Knowledge Exchange Fellow, University of Edinburgh
2009-2010 – Edinburgh Beltane Artist-in-Residence
2005 – Icon of Scotland, Visual Arts, New York
2003 – Lecture, Edinburgh College of Art Summer School
1999-2003 – Artist in Residence, Caledonian Brewery, Edinburgh
1982 – Scottish Arts Council Bursary, used for travel to China
1979 – Awarded Meyer Oppenheim Prize, Royal Scottish Academy
1976-77 – Andrew Grant post-graduate scholarship, Edinburgh College of Art
1972-76 – Studied at Edinburgh College of Art

Group Exhibitions

2019 – Kilmorack Gallery
Feb to May 2018 – “Artists of Xania Interpret Babel” Xania Municipal Art Gallery – curated by Myrto Kontomitaki
2015 – New Acquisitions Scottish National Portrait Gallery
2014 – Lothian Birth Cohort Reunion, Edinburgh
2014 – British Academy Debate, Edinburgh
2013 – XaniArt, Greece
2012 – Portrait Exhibition Scottish Arts Club, Edinburgh
2012 – Summer Show Open Eye Gallery, Edinburgh
2010 – Scottish Makars, Highland Region Tour
2010 – ‘Man and Technology’ Olive Oil Press Gallery, Crete, Greece
2010 – ‘Drawn from Xania’ Municipal Gallery, Hermoupoli, Syros, Greece
2009 – Scottish Makars, Scotland House, Brussels
2008 – New Acquisitions, National Galleries, Royal Scottish Academy, Edinburgh
2006 – Channel 4 Political Awards, London
2005 – Scotsman Portraits, Scottish National Portrait Gallery
2005 – Off Shore Europe Exposition, Total E&P UK PLC, Aberdeen
2004 – Singer Friedlander, Mall Gallery, London
2004 – Scottish Gallery Summer Show
2004 – Modern Women, Scottish National Portrait Gallery
2003 – Private A84 Showing, Portrait of Sylvia Stevenson, Tate Britain / Dean Gallery, Edinburgh
2003 – Scottish Gallery Summer Show
2002 – Summer Show, Scottish Gallery, Edinburgh
2002 – Summer Show, Open Eye Gallery, Edinburgh
2002 – End of the Pier Show, Crovie & Duff House, Banff
2002 – Artists of Xania, Crete, Greece
2002 – Adapt, Kelvingrove Art Gallery, Glasgow
2001 – Group Exhibition, Archeus Fine Art, London
2001 – Gallery Artists, Scottish Gallery, Edinburgh
2000 – The Scottish Gallery, TSB, Edinburgh
2000 – “Expressions Scottish Art 1976- 89”, Aberdeen Art Gallery, McManus Galleries, Dundee Contemporary Arts, Dundee
2000 – “Art 00”, Business Design Centre, Islington, London, with The Scottish Gallery
1999 – Highland Open
1999 – “Art 99”, Business Design Centre, Islington, London, with The Scottish Gallery
1998 – Royal Scottish Academy, Edinburgh</li
1998 – Provost’s Prize Exhibition, Gallery of Modern Art, Glasgow
1998 – “Art 98”, Business Design Centre, Islington, London, with The Scottish Gallery
1997 – Glasgow Art Fair, with The Scottish Gallery
1997 – “Art 97”, Business Design Centre, Islington, London, with The Scottish Gallery
1996 – “Art 96”, Business Design Centre, Islington, London, with The Scottish Gallery
1995 – “The Beltane Spirit”, Highland Council touring exhibition to Wick, Thurso, Kingussie & London
1994 – The Scottish Gallery, Edinburgh
1994 – “The Colourist Legacy”, Edinburgh City Arts Centre
1994 – “Students Past & Present”, Heriot Watt University, Edinburgh College of Art, Edinburgh
1993 – “In Other Lands”, Highland Regional Council, including Collins Gallery, Glasgow & Dundee Art Gallery & Museum
1992 – “In Other Lands”, three person touring exhibition, Highlands Regional Council, 369 Gallery, Edinburgh
1991 – Moscow International Art Fair
1991 – “New Scottish Colourists”, Kirkaldy Museum & Art Gallery
1991 – “Edinburgh/Moscow”, The Georgian Cultural Centre, Moscow
1990 – “Painting the Forth Bridge”, 369 Gallery, Edinburgh (and touring)
1990 – “New Scottish Colourists”, 369 Gallery, Edinburgh
1989-90 – “Scottish Art since 1900”, Scottish National Gallery of Modern Art, Edinburgh & the Barbican Gallery, London
1989 – Drawing Exhibition, 369 Gallery, Edinburgh
1989 – Chicago International Art Exposition
1989 – “Contemporary Scottish Painting”, The Palace of Youth, Moscow
1989 – “Coldhouse Soo”, Soo Terminal Building, Chicago
1988 – Tenth Anniversary Exhibition, 369 Gallery, Edinburgh Festival Exhibition
1988 – Chicago International Art Exposition
1988 – “Scottish Art”, Metropole Arts Centre, Folkestone
1988 – “Fruitmarket Open”, Fruitmarket Gallery, Edinburgh
1987-88 – “Contemporary Scottish Landscape”, 369 Gallery show, touring Highland Region
1987 – Festival Exhibition, Warwick Arts Trust, London
1987 – Chicago International Art Exposition
1987 – “Continuing the Tradition: 20th Century Scottish Painting”, 369 Gallery, Edinburgh
1986 – Los Angeles Contemporary Art Fair
1986 – Le Cadre Gallery, Hong Kong
1986 – Chicago International Art Exposition
1986 – “Scottish Painting”, Perth Museum & Art Gallery
1986 – “Contemporary Scottish Landscape”, Chambers Institute, Peebles
1985 – Chicago International Art Exposition
1985 – “Scottish Painting”, Linda Durham Gallery, Santa Fe, New Mexico
1985 – “New Scottish Painting”, Dunfermline, Fife
1985 – “Contemporary Scottish Landscape”, Edinburgh City Arts Centre
1984 – The Caledonian Club, London
1984 – International Contemporary Arts Fair, London
1984 – Dart Gallery, Chicago
1984 – Chicago International Art Exposition
1984 – “What Are Young Scottish Painters Doing?”, 369, Travelling Exhibition
1984 – “The New Wave”, 369 Gallery, Edinburgh Festival Exhibition
1984 – “Scottish Expressionism”, Warwick Arts Trust, London
1984 – “Demarcations”, Edinburgh Festival, Edinburgh College of Art
1983 – Seven Scottish Painters, Bruton Gallery, Somerset
1983 – Chicago International Art Exposition
1983 – “The Scottish Expression: 1983”, Freidus/Ordover Gallery, New York
1983 – “Scottish Expressionism”, 369 Gallery, Edinburgh Festival Exhibition
1983 – “Scottish Contemporary Art”, Clare Hall, Cambridge
1983 – “Peintres Contemporains Ecossais”, Galerie Peinture Fraiche, Paris
1983 – “New Directions – British Art”, Puck Building, New York
1983 – “Best of 369”, St Andrews Festival (University of St Andrews)
1982 – Three person show, Watts Gallery, Phoenix, Arizona
1982 – “Pictures of Ourselves”, Scottish Arts Council Travelling Exhibition, The Fine Arts Society, Edinburgh & London
1982 – “Five Women Artists”, Traverse Theatre, Edinburgh
1981 – The Fine Art Society, Edinburgh & Glasgow
1981 – “Scottish Painting”, Watts Gallery, Phoenix, Arizona
1981 – “Edinburgh Behind the Facade”, Scottish Arts Council Travelling Exhibition, Holsworthy Gallery, London
1980 – STV Festival Show, Edinburgh
1980 – Midton Gallery, London
1980 – Fruitmarket Gallery, Edinburgh</
1980 – Browse & Darby, London
1978-81 – Royal Scottish Society of Painters in Watercolour, Edinburgh
1978 – Royal Scottish Academy
1977 – New 57 Group Show, Edinburgh
1976 – Three person show, Saltire Gallery, Edinburgh Festival
1974 – Three person show, Saltire Gallery, Edinburgh
1974 – Pernod Competition, Edinburgh City Arts Centre

For all enquiries, please fill out the form below