Ruth Ewan @ DCA

Where art meets history may be the most appropriate way to summarise Ruth Ewan’s enlightening and often wonderfully nostalgic collection of objects, installations and drawings. Under the title Brank & Heckle – a bridle used as an oppressive silencer for woman and a force of free speech, respectively – concepts of silence and protest, the past and the present, are explored with a decidedly personal touch. That the individual is placed at the helm of the protest, rather than the oppressive context taking centre stage, feels of importance, notably with a series of interlinking works dedicated to a relatively unknown civil rights activist, Paul Robeson.

A white sculpture of Robeson – we can only assume, for the sculpture in its neo-classical style is vague –stands in front of a collection of faded, bland record sleeves, alluding to the expunging of Robeson from memory, and perhaps serving as that cruel reminder of history itself, whereby strong characters in their own right are erased in time.

One aspect of the exhibition, which deserves specific mention, is the suitability of Ewan’s work to the venue. “Developed specifically for the DCA”, the accompanying booklet declares – and it shows. It is made clear that the artist did not pick the activist Paul Robeson at random, but for his specific links to Dundee’s cultural history.

Ewan’s work is rich with Dundee’s heritage. A print from a research thesis on Mary Brooksbank – a revolutionary figure in Dundee’s Jute Mill strike – refers to a playground courtship ritual in Dundee’s social history and is sure to draw a smile.

Striking a similar tone, an installation of large childish letters made from Dundee school desks spells out “NAE SUMS”, and is accompanied by a friendly green witch’s hat.

Ewan brings snapshots of a turbulent past back to mind, and threads it together with a human, touch where revolutionary individuals and fond childhood memories collide.