Murray Robertson

Murray Robertson studied at Glasgow School of Art and continues to live and work in Glasgow. Whilst maintaining an interest in traditional fine art and printmaking through many years of association with Glasgow Print Studio it is the research, development and application of new technologies, specifically digital imaging and printing, that has most influenced current professional practice, be it in the role of Master Printer at GPS, managing the Digital Imaging Suite and disseminating that knowledge to others, or as an individual practicing artist.

"The works generated and presented for 'Branching' follow themes that are of a distinct difference to each other but are also undeniably linked from both physical and historical perspectives. Several of the 'Eden' images feature trees that were originally trained for the purpose of bonsai or temple garden. Several of the bonsai images also feature elements from the Eden mythos.

The 'Garden of Eden' that so many are familiar with in both concept and Biblical tale is a far more complex story and compendium of ideas than most realise. As a dark primeval myth with deep links to the pre-diluvian ancient world the story originates from the Near East, drawing heavily on Sumerian and Mesopotamian tales of an earthly paradise. The tale serves as a theological narrative explaining humanity's shift from a state of innocent perfection to the realisation of the harshness of the mortal world.                                                               

The concept of a divine garden populated by the gods, a sacred tree of life, and a serpent figure is also heavily rooted in ancient Mesopotamian mythology, such as the Epic of Gilgamesh.

The primary text of the well known Biblical story is found in the Book of Genesis (Chapters 2 & 3) whilst a lesser known secondary and shorter version which depicts a mighty king expelled for violence from the Garden rather than the fall of man appears in the Book of Ezekiel.

The story underscores the power of free will. The serpent's temptation illustrates the tension between divine obedience and human agency.

The art and study known as Bonsai is recognised as the growth and study of small trees in pots. Chinese literati were the first to experiment with this in the generation of miniature landscapes which eventually evolved into the art of Penjing. Most people do not realise that bonsai are primarily outdoor trees and are only brought indoors to view.

Bon is a tray-like pot typically used for bonsai culture and sai means to plant. The art of bonsai focuses on the long-term practice of cultivating and shaping miniature trees that are grown in a container. The purpose of the art is to give the grower the opportunity to practice patience, effort and ingenuity, presenting the viewer with opportunity to contemplate the artwork.

Unlike a painting or sculpture, a bonsai is never "finished." It is a living entity that requires continuous growth, care and adjustment. Bonsai cultivation requires specific plant biology knowledge to maintain tree health.

Robertson began the practice of bonsai in 2006 and maintains a collection of around 20 trees. These works reflect some of the elements involved in working with trees." Murray Robertson

Robertson has exhibited widely over the past 25 years in the UK and internationally. Of particular influence have been residencies and exchange programmes including Künsterlhaus Bethanien, Berlin (1989-93); Yamanaka Fine Arts Centre, Kyoto, Japan (1995), JJ School of Art, Mumbai, India (2001/2003); Museo Grabado, Zacatecas, Mexico (2004) and most recently Lewis, Outer Hebrides (2013), Sabhal Mór Ostaig, Isle of Skye (2016) and Ballinglen Arts Centre, County Mayo, Ireland (2019).

Robertson's work is underpinned by enquiries into aspects of nature and the environment that lie at the core of many of our current concerns and scientific paradigms. Exploring and contrasting the significances of cultural perceptions and misconceptions, Robertson endeavours to interpret and create systems of representation via structured visual matrices that are realised as hopefully legible and meaningful patterns of knowledge.

Imagery develops from a process of experience, documentation and interpretation, employing a wide variety of techniques from traditional drawing and painting to 3D computer modeling. Diagrammatic representations and their related iconography motivates recent works using sources including textbooks on natural history, early and contemporary printed maps, scientific/technological imagery and cultural icons.