ME AND MY... MENTOR by Marianne Halavage, THE SUNDAY HERALD March 7th 2010

Interviews by Marianne Halavage

Photograph by Gordon Terris

How a promising young artist found friendship- and discovered the patience he needed to realise his talent

FRANK TO, 27, ARTIST

I paint fine art, both figurative and abstract. But I prefer abstract for being able to portray myself- and my dark side. I have this dual "nice guy, dark guy" persona, a bit like Bruce Wayne, who turns into Batman. But, like Bruce Wayne, I keep my dark side close and channel it in my work.

At secondary school, I realised I had a bit of a talent for art but that's not why I produced it. I was this skinny, geeky teenager and I figured the only way I could attract girls was to do portraits of them. Did it work? Did it heck. They thought I was a Van Gogh- type weirdo. Actually, I tried to ignore my talent. But at every step- standard grade art, higher art, art school, my career as an artist- I was drawn to it and chose it at the last minute. So now I say, "I didn't choose art. It chose me."

In 2004 I did a masters in Fine Art at Duncan of Jordanstone Art College in Dundee and was taught by Philip Braham. I remember back then, going to the opening of his show at the Scottish Gallery, seeing his work and thinking, "I want to be that good". Now even though I've graduated and I'm a "minor celebrity" in the art world, I still consider Philip as the master and me as the apprentice.

Philip has a great technique, but he also has a great mind for painting. In 2004, I was a very irrational and impatient painter. Phil infused me with patience and rationality. He used to say to me, "Those oil paints don't control you, you control them."

My most famous buyer is the actor Patrick Stewart, who is also the chancellor of Huddersfield University where I studied fine art. I met him before my degree show, and a year later I received an email from him. At first I thought someone was playing a hoax. He bought some of my stuff and we've been friends ever since. When Patrick acts, he portrays his own voice. When I paint, I portray my own voice, and people recognise my work as Frank To's, no one else's.

www.franktofineart.com

PHILIP BRAHAM, 50, ARTIST

Frank's enthusiasm, determination and personal vitality come through in his brush work. He's a very good painter, as well as very good publicising his work. Some of the most talented students disappear after college, but Frank has the confidence to get his name out there.

I suppose when I was starting out I also had that boldness. In 1985, a friend and I held a protest outside the RSA because the Edinburgh Festival was not showing contemporary Scottish art. Our protest led to a blockbuster exhibition at the 1987 festival. That exhibition not only made my name as an artist.

My gift for art was obvious from a young age. At five, when other children were drawing stick figures, I was drawing solid volumes and trying to shade them in. In 1980, I won a scholarship to the Royal Academy of Fine Art in The Hague. There, I was inspired by Piet Mondrian's early work on landscapes.

Now, I try to represent a landscape as precisely as I can, while giving a flavour of the events in history that took place there. One landscape might take six months.

I began teaching 10 years ago, and though it slows down the number of paintings I can produce, the quality of my work benefits from my tutoring. Sometimes, I can even hear my own voice as tutor over my shoulder.

I have many big- name collectors but I don't like to say who. The work shouldn't need the nod from a celebrity. But Frank is at a different stage in his career and it's part of his marketing strategy, so I won't be too critical. Frank is in the phase where he must work hard at doing and publicising his art. But, in five years, when he is able to relax, his celebrity buyers won't be the first thing he is proud of.

www.philipbraham.com

Frank To is exhibiting at the Glasgow Art Fair. March 25- 28 (www.glasgowartfair.com)

Interviews by Marianne Halavage

Photograph by Gordon Terris

ARTIST FRANK MAKES A ROYAL APPOINTMENT by David Oliver, The Extra, 15/07/09

NEWTON Mearns painter Frank To had a brush with royalty recently.

The Duke of Rothesay, Prince Charles, visited the artist and spent time discussing and admiring his work.

Frank told The Extra: "He's also a keen art lover and amateur artist. He took a great interest in my art and achievements- I've also been invited to this year's Royal Garden Party at Holyrood."

To has also just won an award with Deloitte and Touche LLP for outstanding achievement for an young upcoming Scottish artist and for his painting Yggdrasill which was exhibited in Dundee.

Rick Ballard, SSA committee member and partner at Deloitte in Scotland, said: "Deloitte is very pleased to award Frank the recognition he deserves for his artistic flair and talent. The Yggdrasill piece is very unusual and I look forward to seeing more of Frank's work in the future."

For more information, please visit the official website of Frank To Fine Artist.

VISUAL ARTS REVIEW: SPIRIT OF ARTISTIC ADVENTURE by Susan Mansfield, The Scotsman 09/06/09

SOCIETY OF SCOTTISH ARTISTS ANNUAL EXHIBITION ****

VISION BUILDING, SEABRAES, DUNDEE

THE Society of Scottish Artists was the first organisation to show the paintings of Edvard Munch in the UK. The exhibition of the Norwegian expressionist, in Edinburgh in 1931, sparked a storm in the letters page of this newspaper. No stranger to controversy, the SSA also brought Matisse and Picasso here, determined to inspire home-grown artists with the best work from the continent.

In these days of the Internet and cheap travel, there is less need for that, but the pioneering spirit of the SSA continues in its readiness to support the work of emerging artists, and to embrace those working in a wide range of media.

This year, the three artists' organisations which normally show in the RSA building in spring have had to find new spaces. The SSA, sharing the Vision Building in Dundee with Duncan of Jordanstone's very successful degree show, is much better served where it is. Creating enough space for works hung on walls has been a challenge, but the sculptures have room to breathe, as do the viewers - with 250 works on show, you might need it.

Works by invited artists such as Will Maclean, Marian Leven and the late John Houston help raise the game. Barbara Rae, a former SSA president, shows a large painting titled Urban Decay in which her typical vigorous colours swirl like graffiti against abstracted tower blocks. Expanding Forms No 1 (Lemon), one of several works from the estate of Wilhelmina Barns-Graham, is an elegant exploration of pure colour and form.

Calum Colvin shows two portraits of Byron, each reflected in a cube of mirrors mounted between them, for this is a man whose image comes down to us through a glass darkly, muddied by his work and the legend that grew around him. Meanwhile, Dundee-based Dalziel + Scullion show two sculptures of tree trunks, a three-dimensional expression of their digital prints of tree bark, and part of their ongoing vivid depiction of the natural world.

There is evidence of thoughtful hanging: Maclean's Portrait of a Polymath vitrines, combining natural and mathematical images, harmonise with Gayle Nelson's Glass-bottom boat, in which images of water and marine creatures are printed on perspex ovals, which in turn speaks gently to Liz Douglas's Ettrick series: Moth Light.

Meanwhile, there is an attempt to capture the collaborative spirit of the SSA in Juteopolis, which features 120 small wooden cubes around which different artists have created work responding to the city of Dundee. They are installed in rows like the cobbles in the "lade" of a jute mill (though Peter Russell's Dundee skyscraper towers eight-fold above the rest).

It is a generous, cheerful project in which the most famous aspects of the city are represented, from jute and newspapers to Keiller's marmalade, from William McGonagall to Dennis the Menace.

The long windows of the Vision Building look out towards the Tay, and - deliberately or not - there are various works here which play on a nautical theme.

Seascapes are ubiquitous: Will Maclean's work always has a whiff of the sea about it, Ian Finan shows a delightful pod of beluga whales mounted on canvas - each with a different expression - and Kenny Munro has made a giant limpet.

Catriona Taylor's model of a steamship, covered by extracts from the letters of those who left Scotland in the Clearances, is a reminder that not every passage is an easy one, and water is also a dominant image in Richard Ashrowan's Lament, surprisingly, the only video work in the show.

If the more experimental installation and electronic work is absent this year, it is compensated for by a strong and interesting sculptural component. Linda Masson's A Complex Being succinctly captures the way in which we show a different face to everyone we meet. Stephen Paterson's St Anthony (after Tony Morrow) is a striking bronze head, a modern twist on a traditional style. Charmian Pollok's Ghost Croft series use found objects and wire to create evocative assemblages. Helen Denerley delights, as she always does, with a crocodile and an amur leopard made from recycled metals.

Another guest artist, Philip Reeves, leads a strong abstract contingent, closely followed by the contrasting works of Christopher Wood and Richard Strachan. 27-year-old Frank To, who is making his name as a figurative painter, takes the opportunity to return to abstraction for the first time in four years with the engaging Yggdrasil, which scooped the Deloitte LLP prize.

Other highlights include a drawing by Joyce Gunn Cairns, a magical group of works by Nan Mulder, photographs by Norman McBeath, two engaging oils by Leo du Feu; vigorous drawings by Kate Downie, and the beautiful words-and-images prints of Brigid Collins. David Faithfull's prints, Bear Market/Bull Market and Bull Market/Bear Market sum up the economic situation, surely as tough on artists as on anyone else.

Humour is welcome in these difficult times, and there is an abundance of that too. Anton Beaver's A Box of Spuds is exactly what it says it is. His clever little mirror piece is cheekily titled Man's Rays. Margaret Bathgate's photographs follow her knitting on adventures through Fife. Tim Taylor has made a totem pole out of lampshades. Gemma Coyle's caravans made of biro pens, spinning slowly on their plinths, are bettered only by her scale model of the Chrysler building, pulled by horses through a desert on the floor.

The impulse which once brought Munch and Matisse to Scotland continues through the SSA's commitment to exhibiting the work of young artists picked from last year's degree shows. Georgina Porteous and Mark Creaney, both from Moray School of Art, work with medical images: Creaney with syringes (that contradictory implement of both addiction and medicine) and Porteous making a disturbing "chandelier" from gynaecological instruments.

Tielia Dellanzo's black ribbon printed with the words "Edge of Belonging", hangs from the ceiling, pooling on the floor.

Rowan Corkhill, whose work stood out at the Duncan of Jordanstone degree show last year, continues to use old found photographs, mounting them on light boxes so that light glows from pin-pricks. The rows of young cadets and ladies at a WI-style luncheon appear at the same time more ghostly and more alive.

Until 19 June.

For more information, please visit the official website of Frank To Fine Artist.

HONOUR FOR TOP YOUNG ARTIST By April Mitchinson, The Courier 23/05/09

ACCLAIMED DUNDEE artist Frank To was presented with an outstanding young artist award when he returned to the city last night to help launch two different exhibitions that both feature his work.

Mr. To, who graduated from Huddersfield University with a degree in fine art before completing his Masters at Duncan of Jordanstone in 2005, is showing at the Queens Gallery and The Vision Building.

He was presented with the award by the president of the Society of Scottish Artists during the annual contemporary art exhibition show at the Vision Building.

Mr. To said he was "overwhelmed" with the honour and added, "I was taught by some of the best artists in the world when I studied here in Dundee and I feel like the boy come good- coming home to where my creativity was harnessed and developed."

For more information, please visit the official website of Frank To Fine Artist.