Exhibited work

‘Made in Concrete’

made in concrete
Made in Concrete: Hand-knitted thread, hand-made concrete, reclaimed metal and glass embellishments, a single cherry seed.

By Angela Gillies for (((echo)))

28th of April 2016

Dundee Contemporary Arts

to accompany the exhibition:

‘Grey Gardens’

27th of February – 1st of May 2016 

Concrete is often perceived as a dull, grey and boring medium devoid of life and associated with outdated and abandoned buildings covered in graffiti. However, this misconception could not be further from the truth: the textured and pockmarked exteriors of concrete structures harbour an array of plant and animal life forms.  Beautiful green lichens and spongy mosses cling to the surface of concrete, harbouring moisture and providing habitats for invertebrates such as spiders and beetle bugs.  These intricate microenvironments in turn support higher animals and birds by providing food and a rich source of nesting materials.

‘Made in Concrete’ attempts to illustrate the beauty of these crucial microenvironments: hand-knitted thread represents delicate lichen structures and hand-made concrete is embellished with little reclaimed metal adornments to denote associated plant life. The glass bead structures of anti-bumping granules, a waste product of industrial processes, represent the tiny beadlets of moisture that support life upon these surfaces.  A single cherry seed alludes to the potential fecundity of concrete and its imperative role in the wider ecosystem.

Critical to the design of this small sculpture was its ability to be deconstructed; all of the components of this piece have subsequently been taken apart to be re-used in future designs.

Event poster:




susurrus photo
Installation set-up.

By Angela Gillies for (((echo))

10th of September 2015

Dundee Contemporary Arts

to accompany the exhibition:

‘Installations’ by Roman Signer

4th of July – 20th of September 2015

Footage of the video produced as part of this installation can be viewed at:


Inspired by Roman Signer’s ‘Balloon before Waterfall’ (1982), this installation opens with the serenity of a spring-green forest, with birds singing melodiously in the background and the buzzing of little flies and bees. A small yellow balloon bobs and sways in the gentle breeze, and life appears relaxed and unperturbed.

In keeping with Signer’s love for movement and energy in his work, this scene alters suddenly with the bursting of the balloon…pop! The silence is broken, the birds scatter and the bugs are frantic to leave.

The video footage for this installation was produced on a beautifully sunny Sunday morning, lying in the long grasses of the forest floor.

The bursting of the balloon was emphasised during the exhibition, much to the alarm of the spectators!




This slideshow requires JavaScript.

By Angela Gillies for (((echo)))

11th of June 2015

Dundee Contemporary Arts

to accompany the exhibition:

Spring / Summer 2015

Maripol, Clare Stephenson and Zoe Williams

4th of April – 21st of June 2015

Inspired by Maripol’s series of Polaroid images and by the exploration of an old nest by a rather inquisitive bird in my garden, this study seeks to emulate the ability of Polaroid prints to capture the intimacy and immediacy of a developing relationship in the raw.

A series of sixteen square digital prints are framed in white to mimic the appearance of Polaroid prints and to focus attention upon the discovery and subsequent investigation of the nest from all angles by the bird.  The photographs were taken using a simple mobile phone camera, and instantly captured each unique and intimate stage of the interaction in much the same way that Polaroid cameras were able to instantly record a snapshot of one-off moments.

As with the prints of Maripol, each photograph illustrates a single instant moment in time that is precious to both the photographer and the subject.

The study was produced using the most minimal of materials, namely found objects such as bird clips and copper wire, as well as paper and card.  The use of glitter also affords the piece a bit of the glitz and glamour of Maripol on a budget, and made use of the beautiful bright light of a sunny Easter’s day when the study was produced.