EDINBURGH.- The centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925–2006) is being marked in a new free display of his work at Modern Two in Edinburgh from 8 March to 26 May 2025.
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This exhibition showcases key highlights from Ian Hamilton Finlay’s artistic career, starting in the early 1960s until his death in 2006. Hailed as a unique combination of poet, sculptor, printmaker, gardener and provocateur, Finlay’s practice covered a wide range of media which is reflected in this display of sculptures and prints as well as never- before-seen archival materials and a room-sized installation, all from Scotland’s national collection.
From the Classical world to the French Revolution, the Enlightenment to World War Two, Finlay, a self-proclaimed ‘anti-modernist’, often looked to history for inspiration. Recurring motifs including boats, tanks, wallflowers and ships can be spotted throughout the range of artwork on display. Although simple by design, they often draw on more complex references to history, literature and art – with subtle humorous nods.
Born in the Bahamas in 1925 to Scottish parents, Finlay moved to Scotland in his early childhood, taking up a brief stint at Glasgow School of Art and eventually settling in Edinburgh in the late 1950s. His love of the written word influenced the start of his career as a playwright and poet. He became a key figure in the concrete poetry movement – a type of visual poetry where words are arranged to create patterns and images on the page.
Visitors can see early examples of Finlay’s concrete poetry, including the screenprint Star/Steer (1966), which tells the visual tale of a ship navigating stormy seas under the silvery light of the stars, presented through cascading words. The artist’s first steps into the world of sculpture are explored through his days as a hobbyist toy-maker in 1960s Edinburgh. The exhibition features the wooden Toy Cow (1962-63), one of the earliest examples of Finlay’s sculptural work, alongside photographs of the artist amongst his toy creations.
A visionary artist, Finlay harnessed the power of collaboration throughout much of his work, drawing on the expertise of fellow makers and creators to bring his artistic visions to life. From stone-carvers to typographers, ceramicists to calligraphers, he employed a wide range of specialist technicians to realise his work.
In 1966, Finlay and his wife Sue moved into a semi-derelict farm called Stonypath, south-west of Edinburgh, sheltered within the Pentland Hills. Here, he would go on to create what is often considered his greatest work: an ambitious, expansive garden filled with sculptures. Renamed ‘Little Sparta’, in reference to the Spartan wars in Ancient Greece, and a humorous nod to his own personal battles with organisations such as the Scottish Arts Council, Finlay grew his creative practice in its grounds over the course of 40 years. Rarely leaving its confines for decades due to agoraphobia (a fear of open, crowded spaces), Finlay created over 260 sculptures and artworks at Little Sparta, distributed across its four acres of curated gardens. The site remains an integral part of Finlay’s artistic legacy and is open to the public to enjoy each summer.
Visitors to the exhibition can take a glimpse into the lush grounds of Little Sparta for themselves through Finlay’s installation Nature over again after Poussin (1979). Filling a whole room, the work comprises 11 photographs set on plinths, each offering different viewpoints of Little Sparta. A carved stone can be found within each image, ‘signed’ with the initials of artists who embraced a more classical approach to painting landscapes. The work encourages a moment of escapism, embracing time to get lost within the serenity of each photo.
The exhibition also takes over the Keiller Library, where visitors can uncover more about the man behind the artwork through a selection of rare archival materials. Objects including letters, personal photographs and notebooks, many of which have never been on display before, give a unique insight into Finlay’s inspirations, artwork and life.
Patrick Elliot, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotland said: 'Ian Hamilton Finlay was a completely unique figure in British art. Severe agoraphobia meant that he seldom left his house and garden in the Pentland Hills. Collectors, museum curators and art lovers from all over the world came to see him and his garden over a period of 40 years. He was a complete maverick, a wonderful, complicated, fascinating man and artist. Totally uncompromising and at times difficult, he created what is, in many people’s eyes, the greatest artwork created in Scotland in the second half of the twentieth century: his garden at Little Sparta.'
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