It is always at this time of year in the northern hemisphere, as winter solstice approaches and the days are at their shortest, we find ourselves increasingly drawn to the products and projects that explore light. Among these, candlelight remains the most captivating, offering both comfort and ritual.
This winter, Scottish gallery Bard in Edinburgh (which launched in 2022) embraces this ancient fascination. Here, 20 makers and artists from all over Scotland – working in stone, woods, ceramic, silver, leather and steel – have bathed the space in the soft glow of candlelight, showcasing their own interpretations of the humble candlestick.
'Winters are tough in Scotland – we’re not north enough to get the reflective benefit of snow. But we are north enough for very short days. Add frequent rain and wind, and that cloak of darkness can feel like it goes on forever,' says Wallpaper's acting global design director Hugo Macdonald, who devised the show alongside his Bard co-founder and husband James Stevens.
'You find candles in most homes as a cheery wintry antidote, and I think Scottish makers perhaps have a proclivity to design candleholders as a result. We are a nation of experienced candle lighters!'
TerraLume by Mella Shaw, £960
Drawing on their personal experience of testing Scottish winters, each artist and maker was asked to create a candleholder that expressed their distinct creative vocabulary. The results are both captivating and uplifting. Rhythmic, spun aluminium holders by Glasgow artist Marc Sweeney (one of Wallpaper's emerging design stars for 2025) are inspired by Brancusi’s endless column; hand-carved, charred oak totems by Edinburgh-based Jonathan Freemantle twist upwards; while crystaline-esque holders in rich-metallic hues made by local ceramic artist Mella Shaw gently shimmer in the dim light.
Showcased under the title of 'A Scottish Enlightenment' – a tongue-in-cheek nod to the 18th-century period of intellectual and social progress – the group show illuminates Bard's Edinburgh space throughout December 2024. We caught up with Macdonald to explore the inspiration behind the show, the challenges of curating such a diverse collection, and how the works reflect the essence of winter light.
Wallpaper*: What inspired you to curate a show dedicated entirely to candlesticks?
Hugo Macdonald: We find shows that explore breadth of individual expression and material exploration through the lens of a single, archetypal object surprisingly revelatory. It’s a simple idea (and definitely not revolutionary!) but it’s certainly the case that visitors to such a show tend to appreciate the objects in an accessible ‘compare and contrast’ way, rather than being overwhelmed by a complex curatorial concept. Everyone has enough on their plates and in their heads come this time of year. So we devised a light-filled, light-hearted exhibition for happiness.
W*: How did you select which makers to work with?
HM: After two years of Bard, we have built wonderful relationships with lots of makers, designers and artists and so we invited people we felt would be excited by the idea and also who would respond with a good range of materials. Having geographical spread from Scotland is also something we take into account with our shows, and we try to make sure there’s a spectrum of experience, age and price for finished work too.
‘We began to wonder how hot Bard might be with so many candles lit, and whether we should be keeping buckets of water in the rooms as a precautionary measure’
Hugo Macdonald
W*: What has the journey of bringing this exhibition to life been like?
HM: We put the call out in the middle of summer, which felt responsible but also a bit weird. Everyone was delighted – we’ve become addicted to using words that have ‘light’ in them. We’d pictured Bard as an atmospheric, glowing séance. But as the spectacular array of ideas and concepts came back, we began to wonder how hot Bard might be with so many candles lit, and whether we should be keeping buckets of water in the rooms as a precautionary measure. Mercifully, it’s been okay so far. No fires yet, and we don’t need to switch the heating on.
W*: What has most impressed you about the designs that have emerged?
HM: The variety of responses makes for a really engaging show. Each exhibit says something about the personality of the person behind it, as well as the properties of the material. From light-hearted to poetic to profound, ingeniously simple to compelling complex, there is a fascinating array on display. It also serves to help us read different characters of the visitors who come to the show, depending on what they are drawn to. It’s a very crafty psychological profiling experiment!
‘Our objective with Bard was to be a home for Scottish craft and design, and also to demystify it for people by having a playful approach‘
Hugo Macdonald
In the Dark Time our Eyes Begin to See by Studio Viv Lee
W*: Can we look forward to more mono-product exhibitions from Bard in the future?
HM: Our objective with Bard was to be a home for Scottish craft and design, and also to demystify it for people by having a playful approach – encouraging people to buy, live with and use craft and design in their homes. The show has been a really successful endeavour in this regard. Everyone loves candlesticks, especially in Scotland in winter, so as an access point to learn about different people’s creative practices, and different material properties and possibilities, it has been wonderful to see so many people so engaged.
Long-winded answer – yes, we feel group shows around a single archetype are effective ways of demonstrating the multitudinous varieties of material and process, as well as the power and potential of individual expression, within craft and design.
‘A Scottish Enlightenment’ is open 11am – 5pm, Friday to Sunday and otherwise by appointment at Bard, 1 Customs Wharf, Leith, Edinburgh EH6 6AL, and runs until 23 December 2024
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