A selection of fine paintings accompanies Shana Moulton's exhibition and is on view in the Lower Gallery. In the nineteen seventies, Alan Davie moved away from the rapid, expressionist brushstrokes of his earlier years, and entered a quieter period. Inspired in part by decorations he had made directly onto the wall in his daughter's bedroom, he produced a long series of works on paper and oils entitled 'Ideas for a Children's Wall'. A salient feature of the series is the use of a box-like spatial demarcation, using horizon lines to delineate a receding space, as in early Renaissance landscapes. The converging lines did not necessarily follow a strict perspective, rather they suggested a fluid and incomplete cavity in which various painted wall surfaces might be depicted.
The second feature of these works is the citing of clear symbols floating above, or in front of the imagined space. Carefully painted as separate elements, they differ from the earlier paintings, where the occasional use of symbols were overpainted, obscured or distorted. In the current exhibition, these religious and shamanistic symbols echo those of Shana Moulton's, which feature both in her films and as artworks. For Alan Davie, these motifs are the visible markers from a wide range of religions that derive from his interest in non-Western art and artefacts.