THE LADE BRAES
each 120cms x 120cms / 48” x 48″
acrylics on canvas, four panels
The Lade Braes in St. Andrews was a favourite walk for the artist and his daughter, Kelly. The old stone bridge, built in 1792, was a regular pausing point where they would play Poo Sticks. Yates portrays this location across the four seasons to celebrate its changing atmospheres.
Lord Glentoran
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LIGHT BEARER
61cms x 61cms / 24” x 24”
acrylics on canvas
One of St. Andrew’s oldest and most mysterious stone works, this kneeling figure apparently proffering a votive light, is little known other than by those initiated into its hidden location at the rear of the Byre theatre. This painting portrays the stone figure on stage with laser like set lines defining a significant moment from a drama mystery yet to be concluded.
Lord Glentoran
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DUNINO SNOWMAN
50cms x 40cms / 20” x 16”
acrylics on canvas
An early work from Yates’s ‘KLIN’ series, an Inuit word meaning ‘remembered snow.’ The making of a snowman is likely the most common form of sculpture making most of us are familiar with. Yates’s snow figures are from a separate gene pool to their domestic cousins with a real sense of individuality and mystery.
Lord Glentoran
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DUNINO MIST GHOST
152.4cms x 101.6cms / 59 ¾” x 39 ¾”
Pre-soaked 300lb Arches paper dusted with crushed vine charcoal and rinsed with washes of Kali Water.
Early morning mists descending through the trees into Dunino Den often take on the form of ghostly cowled figures, driven by gravity and sunlight they slowly sink and vanish into the earth.
Lord Glentoran
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BASSEY WAS HERE
93cms x 122cms / 36” x 48”
acrylics on canvas
Bassey was the cart horse that carried every one of the 2,835 stone blocks [2083 tons] that built Bell Rock Lighthouse, drawing stone from quarry to the masons’ yard and then again to the pier at Arbroath over three seasons. Bassey died in 1818. Her skeleton was donated to the Royal College of Surgeons, Edinburgh. It was later transferred to the Bell Pettigrew museum, St. Andrews, where it resides suspended on strings inside a glass case. Bassey is at last at rest, light as air and without any burden other than the sunlight that falls on and through her bones.
Lord Glentoran
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SHOP PORCH, PITTENWEEN
61cms x 61cms / 24” x 24”
acrylics on canvas
This unusual juxtaposition of an overflowing plant, chequered tile work and ground level letterbox, rendered with understated tones, work of each other to surprising effect.
Lord Glentoran
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PITTENWEEN GANSIE
71cms x 93cms / 28” x 36”
acrylics on canvas
A traditionally patterned fisherman’s jersey and foggy silhouette of a boat. Such garments were knitted with all the care and skill of net-making. Both
love charm and practical protection from the weather gansies were woven like spells to keep loved ones safe and keep out the cold and wet.
Lord Glentoran
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PI IN THREE PLACES, ST. MONANS
triptych: 30cms x 76cms / 12” x 30”
Indian inks and pastels
The shifting positions of a bird-scarer above fields at St. Monans on the Fife coast seem to express three random versions of the Pythagoran concept of ‘PI.’
Lord Glentoran
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STAR FALL ON A SECRET PLACE IN SCOTLAND
50cms x 70cms / 19.5” x 28”
acrylics on canvas
The surface above a Cold War Civil Defence nuclear bunker. The ordinary invested with a sense of sinister foreboding
Lord Glentoran
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WAITING FOR GODOT, NORTHUMBERLAND STREET, EDINBURGH
122cms x 93cms / 48” x 36 ½”
acrylics on canvas
In the early nineteen seventies Paul Yates and Samuel Beckett engaged in a ‘dialogue by postcards’ between Belfast and Paris. Yates’s chance encounter with a large leather armchair, much the worse for wear, by the window of a quiet room in Northumberland Street, Edinburgh, immediately conveyed to him a sense of waiting. The words ‘Waiting for Godot’ formed in his mind. Yates added a painting within the painting, a small painted collage depicting two actors acting a scene from Beckett’s play.
Lord Glentoran
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MY BONNIE LIES OVER THE OCEAN
61cms x 61cms / 24” x 24”
acrylics on canvas
Embracing a cliché, romancing exiles, a set of pipes make good progress in the open ocean towards whatever the future may hold for them.
Lord Glentoran
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MAN DRAWING CHALK CIRCLES
60cms x 40cms / 20” x 16”
acrylics on canvas
Observed drawing chalk circles in Market Street, St. Andrews, at first this man appeared to be engaged in some form of performance art. In fact he was marking positions for the heavy metal feet that would support fairground rides at the annual Auld Lammas Fair.
Lord Glentoran
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MAGIC COUPLE, DUNINO DEN
122cms x 93cms / 48” x 36 1/2”
acrylics on canvas
A bride and groom levitate above a one-eyed stone anvil. The groom holds a die in his left hand with a single dot on each of three exposed sides, the tail
of a black cat draped around his neck forms his tie, a swan around the bride’s neck becomes her wedding veil, she holds a bouquet of rare Israeli saxifrage, above left in the sky a crescent moon and stars echo a similar device on the interior domed ceiling of St. Andrew’s townhall.
Lord Glentoran
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WOLF MOON SNOWHEAD
87.5cms x 87.5cms / 35” x 35”
acrylics on canvas
A Wolf Moon reflected in the net curtained windows of the Tannoch Brae Tearooms, Auchtermuchty, inspired this work.
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MARINE TATTIE-BOGLE
50cms x 70cms / 20” x 28”
acrylics on canvas
Boldly standing fast against wind and ocean, a tattie-bogle glows in summer sunshine, looking like it could take to flight at any moment.
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TATTIE-BOGLE
61cms x 51cms / 24 1/2” x 20 1/4”
acrylics on canvas
In dusty potato skin and sack tones a traditional scarecrow figure is made more special and mysterious by the addition of a broken upside-down tractor number plate referencing a passage in the bible advising strangers should be treated kindly as they may be angels in disguise.
Lord Glentoran
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MIDNIGHT BOTHY
50cms x 61cms / 20″ x 24″
acrylics on board
This rudimentary shepherds shelter emanates sense of solitude and sanctuary, of being alone but not lonely.
Lord Glentoran
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EDINBURGH TATTOO
61cms x 61cms / 24” x 24”
acrylics on canvas
One of a developing series of ‘Road Markings’. A yellow parking-control line and white pedestrian figure at the rear of the Edinburgh Museum Of Modern Art are re-imagined as a visual haiku simultaneously literal and abstract.
Lord Glentoran
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