The ‘Billboard for Edinburgh’ project ran from 2008 - 2016, when the Gallery was situated in its Calton Road premises and transformed a defunct billboard on the end wall of the building. The Billboard installation would change every three months and from each a limited edition print would be published. The list of contributors includes Turner Prize nominees and winners and artists with world renowned reputations alongside emerging talents.
Huws’ print references one of her artistic idols, Marcel Duchamp. The simple text has a quotidian banality and perhaps alludes to Duchamps’ research and considered approach to making work. Another interpretation is that the text is a celebratory statement – Duchamps’ artistic legacy has made him one of the most important artists of the 20th century and, as such, he has secured his place in the history books.
Publisher: Ingleby Gallery
About Bethan Huws
Since garnering acclaim in the 1990s for a series of subtle architectural interventions in gallery spaces, conceptual artist Bethan Huws has been altering public and private sites, staging performances, and producing films, sculptures, watercolors, and mixed-media works that play with viewers’ perception. Mining her memories and her Welsh identity, as well as the practice of Marcel Duchamp, Huws posits that perception and understanding are premised on a process of translation; in her work, she aims to make this process apparent. By stenciling “FALSE TEETH” onto the windows of a seaside shelter, for example, she effectively transforms its windowpanes into a set of false teeth through the power of suggestion and language. In Untitled (Read, red. . .) (2008), she spells out the words “read” and “red,” illustrating how their meaning shifts and overlaps depending upon how they are perceived.
Welsh, b. 1961, Bangor, United Kingdom, based in Paris & Berlin