Exhibitions

Poster for the MacLaurin Art Gallery exhibit featuring artists from the collection and invited artists, with viewing dates specified.

Current

Tacit brings together selected works from the MacLaurin Collection in conversation with the work of contemporary artists Gosia Walton, Jenna Maclean and Neo Hanna. This dialogue explores not only the enduring influence of the collection, but investigates how artists through the process of not knowing, reveal hidden narratives through varied intrinsic forms of knowledge.

PV Friday 28th November 2-4pm

Open to the public Saturday 29th November 2025 - Sunday 22nd February 2026

Opening Hours: Monday - Saturday: 10am - 5pm Sunday 12 - 5 pm

Location: The Maclaurin Art Gallery, Rozelle Estate, Ayr, KA7 4NQ

Remedium

Hidden Door Art Festival, The Paper Factory, Edinburgh 2025

Presented within the reclaimed industrial spaces of Hidden Door 2025, the work occupied a dim, chapel-like room that visitors reached through a sequence of tunnels and stairwells. I used suspended drawings, sculptural forms and wall-based monotypes to build a slow, bodily landscape. The pieces were produced through invented mark-making rituals — repetitive lines, cuts and graphite traces — echoing breath, fatigue and recovery. The installation worked with the site’s rough surfaces and patchy light, so the viewer had to navigate physically: stepping closer, reading shadows, and finding the fragility of the materials in real time.

Photo by @chrisandhiscamera @hiddendoorarts

Photos by @chrisandhiscamera @hiddendoorarts

Then and Now: 100 Years of VAS

Royal Scottish Academy, Edinburgh 2024
A centenary unfurling: over 300 works by 242 artists span the full spectrum of ceramics, painting, mixed-media, photography and sculpture — held within the historic halls of the Visual Arts Scotland at the Royal Scottish Academy in Edinburgh, this is a bold reclaiming of artist-to-artist solidarity across a hundred years.

Combine

Edinburgh College of Art, Group Show, Edinburgh 2020

In 2020 at ECA, Walton presented a stripped-back yet intense installation of laser-cut acrylic and intervened surfaces. The work operates at the junction of precision and ruin: sheets of transparent material, etched with fragmentary lines and forms, stand like partially revealed maps of consciousness. In their layering and incision, you sense repetition, fragmentation and the persistence of gesture.

Three colorful abstract paintings on display in a bright art gallery with white walls and wooden floors.

Three colorful abstract paintings on display in a gallery, with black, yellow, orange, and green lines and shapes.

Two colorful abstract glass artworks, one orange and one yellow, featuring various shapes, lines, and patterns, displayed in an art gallery.

Three abstract art panels of glass with colorful, dynamic line designs, positioned in an art gallery with wooden floors and white walls.

Two colorful abstract paintings with swirling lines, shapes, and splashes of color displayed on walls in an art gallery.

Dark Night of The Soul

Lewisham Art House, London 2019

Dark Night of the Soul is a group exhibition of works by three female artists exploring themes surrounding the post-spiritual awakening process. Taking its title from St John of the Cross, the show traced the emotional and psychological shifts that follow spiritual awakening — grief, isolation, joy and release. Edey’s dreamlike tapestries led a female figure through portals and stairways; Talbot explored modern disconnection and inner narratives through sculptural and text-based works; Walton drew from her own experience, layering razor-cut acrylic and skeletal forms to visualise the struggle between freedom and constraint, including her limited edition print The Fountain (2019), a flowing image of purging and renewal.

A woman with pink hair, wearing a black jacket and dark pants, is standing in an art gallery, looking at an abstract painting with black, blue, and pink elements on a black canvas.

Art gallery with three colorful abstract paintings on a white wall and a textured sculpture of a reclining figure on the floor.

Abstract modern art piece with black, blue, pink, and red lines and shapes on a dark background.

An art gallery with white walls and a wooden double door in the center, two artworks on the wall — a colorful woven or textile piece on the left, and a dark abstract painting on the right.

An art gallery features colorful paintings on white walls, including two large vertical banners with abstract illustrations and text, a bright yellow and blue abstract canvas, and an orange piece with vase-like shapes. In the gallery, a sculpture of

Art gallery with two paintings on white walls, wooden door in the center, and a black speaker on the ceiling.

An art gallery with white walls, showcasing two paintings: one abstract black painting on the left and a colorful surrealist painting on the right featuring a hand, a drink, and a beach scene.

Art gallery with abstract paintings on white walls, featuring colorful paintings, a fabric sculpture on the floor, and large arched windows.

121st Annual Exhibition

Society of Scottish Artists, Royal Scottish Academy, Upper Galleries, 2019

Alight

VAS Annual Exhibition, Royal Scottish Academy, Edinburgh, 2019

Blisk

Galeria Sztuki, Legnica, Poland 2018

Bliskosc: «znajdujący się w niewielkiej odległości» «niedawno przeszły» «dokładny, szczegółowy, sprecyzowany» «bliskość krwi «pokrewienstwo» / extenstion of me «nearness, propinquity» «the state of being close to someone or something»

A native of Legnica, Poland, Walton sees this exhibition as a kind of return. Shapes fall from the plexiglass screens — not fantasy, but a direct record of emotion: excitement, concern, confusion, happiness, sensitivity, melancholy, ardour, shame, sadness, intimacy. The work took a year to make. Trained as an interior architect and as a model-making technician, she struggled to detach from the logical demands of studio precision and connect to the work in a more immediate way. Cutting, touching, rearranging and mounting by hand, she brought together both sides of her practice: the exacting possibilities of technology and the quiet femininity of the painter. She hopes you feel that pull.

In the main gallery, Walton presents her first series of new paintings: multicoloured laser-cut elements mounted on flat, opaque acrylic sheets.

An art gallery with white walls and black flooring, displaying colorful, abstract paintings. Track lighting illuminates the artwork, with several paintings on the left and right walls and one on the back wall.

Two abstract paintings on a white gallery wall, one with dark background and lines, the other with black background and red and white shapes.

A contemporary art gallery with four large abstract paintings on a white wall, illuminated by ceiling track lights.

Gallery with three abstract paintings on white walls in a modern art gallery, with black polished floors and bright ceiling lights.

Three abstract paintings on a white gallery wall with black floors reflecting the artwork.

An art gallery with white walls, black glossy flooring, and colorful abstract paintings displayed on the walls. Overhead lighting illuminates the artwork.

Laser Erotic

PACT presented Laser Erotic, Gosia Walton’s first solo exhibition in Paris, 2016. Walton works with a laser that cuts luminous acrylic sheets held within aluminium walk-through structures. The etched surfaces show grids, arrows and spatial simulations, as if lifted from a virtual world. The process is deliberately corrupted: the artist feeds patterns to the machine, the machine repeats and mutates them, and the work becomes a record of that co-dependence — a loop of incision and replication that echoes Piotr Kowalski’s fascination with the blurred boundary between human intent and autonomous technology.