Latest Collaboration: Oscar was shortlisted for the 2024 Emergent bursary with BALTIC and Shape Arts.

Artist statement: oscar is cookin' up some work about Bread - Big Bright drawings: fun ruins, and crumblin' and fractured, like those fresco parts pulled off of some pompeiian's wall, which Andy.M texted over Some Time Ago. And ground up wheat in oil paint on an old breadboard. how can an image make connections even broken up [with history and its co-pilots] when words won't do OR if they do what are they actually made up of right now? he always ate the bread but started making the stories by accident: conversations turn into cycles of thought (Alchemy) and cycles of thought into being unable not to talk about it somehow. even if that's from more conversations, or  asking everyone at the Bowls Club to hum and then leaving with a bin-bag full of rattling tins. do you/we do something after the art's gone home? (c. Lispector saying something about photographs of perfume, Celan saying something about snow and wheat and memories). oscar lives in Glasgow and loves it there/there could be too much rain, fewer motorways. <riding off into the sunset on a horse-drawn-bendy-bus>

Follow Oscar on Instagram Check out Oscar's website

Bread Tree Puts the Bakery Out of Business, Oscar Marcus Boyle. Courtesy of the artist. Description: an oil pastel drawing on cardboard. The scene, depicted in landscape format, centres a now disused bread shop, called 'Bread of Heaven: Serving you in your time of knead since...'. The shop is boarded up, with signs in the window reading 'closing down'. Behind the shop, on the right of frame, stands a dark, spindly, dead tree, eerily reaching over the roof of the once thriving amenity. Gathered in the front of the shop, caught mid-conversation with one another, is a group of five people drawn in a naive and colourful style. They appear to be discussing the closed shop and its curious new neighbour (and perhaps the cause of its demise): a tree, growing just back and left from the bakery, which looks as though it is growing loaves of bread from its leafy branches. Surrounding the small tree's thin trunk is a group of five more people - their age indistinct, though their actions evoke childhood - who skip around the tree in a circle, hands linked and raised in glee.

---

Banner image: Raspberry Panel, Oscar Marcus Boyle. Courtesy of the artist. Description: photograph of an oil pastel drawing on cardboard, mounted with two nails at a jaunty angle to a white wall. Though the cardboard appears askew, the angle at which it is hung actually levels out the images depicted. Moving from left to right, we first encounter the cropped face of a man curiously holding a bright raspberry to his right eye. He is framed as though appearing within one archway of a larger structure, with a column abutting his side and the overhang of a bright, tiled building sitting above his head. Following these archways along, we find a woman in the next one. Her space is filled by a large and winding raspberry bush or grape vine, from which she is harvesting fruit with a small knife. Along further, to the next archway, we find a distant hill upon which sits a solitary castle or fort of some kind. In the foreground, two people - we infer they may be peasants or serfs given the context of the castle - carry a larger than life raspberry using a long wooden stick - the fruit hangs by its stem as the people carry one end of the stick on their respective shoulders. In the fourth and final archway of the building, we are met with a verdant, hilly scene, framing a large tree in the foreground. A person dressed in bright orange climbs the tree in an almost sloth-like manner, reaching with a taut, extended arm for a fruit high up on a branch.