News — assemblage

If you follow Broth, it won't surprise you that one of my favourite things to do is visit artists at their studio. Call me a nosy parker but stepping into an artists workspace is for me like entering Ali Baba's cave- you never know what riches you're going to find. Fiona MacRae's studio in rural Argyll is one such place that never disappoints. Tucked away up a meandering track in mossy woodland, Fiona's studio is a treasure trove of spectacles.Having beachcombed her entire life, Fiona MacRae's studio is a shrine to both natural and man-made forms scavanged from the shoreline. There are whalebones, coloured sea glass, mermaid purses, driftwood and calcified sea creatures, but also a confetti of plastic odds and ends, corroded rubber and knarled bits of oxidised metal. Wherever you look, there's something to marvel at.

Over the years, it has become abundantly clear that beachcombing is an important part of MacRae's practice. It works its way- albeit surreptitiously- into her paintings by means of colour, texture and form, and is used directly in her assemblage artwork. For this reason, I was curious to learn more about her love of beachcombing, how it informs her art-making and where it all started.

Read on to discover more about Fiona MacRae and her delightful art.

Pum's surreal collage fuses together imagery from historical books and probes the uneasy relationship between humans and their technology. A dichotomy of old and new, the black and white aesthetic of yesteryear are like prescient visions that raise issues, feelings and concerns of the modern day. In her ongoing series of works, examining our addiction to faster, more convenient living and its impact on society and the planet, Pum's timeless artworks share a limitless awareness, confronting the profound changes and pressures that accompany technological advancement.

Set against the landscape of today, Sarah Randles's visual language captures the stereotypes and social norms that still exist today. Choosing collage or photo-montage as her primary discipline, Sarah appropriates imagery from throughout history to make a spectacle of these arbitrary ideas, and by doing so, offers a new space for understanding and reimagining.

Eager to learn more about her weird and wonderful compositions, we invited Sarah to partake in a virtual interview. Here's how it went.