格拉斯哥藝術家將童年記憶轉化為充滿趣味的畫廊魔法

Trackie McLeod, a Glasgow artist, has launched a new exhibition called 'Soft Play' in the south of England. In the show, Trackie is seen wearing a blue tracksuit and hanging from a colorful climbing frame, surrounded by his unique artwork. Some pieces look like a giant computer screen, while others feature beanbags decorated with wrestling images. For the past ten years, Trackie has been turning memories and humor from his Glasgow childhood into art for galleries. Now 32, he says his work is inspired by nostalgia from his working-class upbringing in Whiteinch during the late 1990s and early 2000s. His latest exhibition is in Sussex, where some of his Scottish references are less familiar, but he believes the main themes are universal.

Trackie's art is known for using local slang and references that people from Glasgow recognize. One sign in his show reads 'Trackie Times, claims court finds ye canny shove yer granny aff a bus' in neon orange letters. Trackie says being Scottish is a big part of his identity, and he loves the humor and vocabulary that are unique to Scotland. His earlier exhibitions in Glasgow included sayings and traditions that only locals would understand, but he realized he needed to adapt his work to reach a wider audience in the UK art scene. He does not want to exclude anyone and believes nostalgia is something everyone can relate to. For his new show at the Charleston gallery in Lewes, he focused less on specifically Scottish themes and more on the shared experiences of working-class youth.

One piece in the exhibition features a mirror with the words 'no football colours, no tracksuits, no wee dafties. ' At the opening night, people in southern England were curious about the word 'dafty,' which led to interesting conversations. The Charleston gallery is a prestigious institution with connections to famous artists like Vanessa Bell and Duncan Grant. Trackie says it feels strange to be in such a well-known place because it is very different from his background. Despite this, he is determined to bring his humor and perspective to spaces that often feel closed off to people like him. He wants to be authentic and true to himself. 'Soft Play' recreates places like community centers and parks where working-class youth spend time. Visitors can sit on beanbags and chat, while a climbing frame stands in the background. Trackie says nostalgia is a central theme in his work, reflecting what it was like to grow up in the West of Scotland. He believes being working-class often means growing up too quickly.

A key piece in the show is a child's climbing frame topped with razor wire, which is usually found in restricted areas like factories or prisons. Trackie says he misses the sense of play that comes with childhood, but as people get older, they stop playing and start acting more grown-up. He remembers how teenagers begin to do things like underage drinking and vandalism to seem older. Another artwork features green grass with the phrase 'no one likes a grass' spray-painted in white, and visitors are seen taking photos in front of it. Trackie also explores how childhood play can turn into more serious behavior, especially for boys. His piece 'The Hardy Brothers' uses wrestling characters to show how play-fighting can become real fighting as kids grow up.

Trackie has also addressed issues like toxic masculinity in his art. One of his billboards, designed to look like a retro Nokia phone screen, says 'boys will be what we teach them to be. ' This message was used in classrooms to start discussions about masculinity and respect. Trackie believes that people are shaped by their environment and that boys are not born to be disrespectful; society influences them. Teachers have used his work to help students think about their behavior. Trackie has also collaborated with brands like Nike and Irn-Bru, and his art has been worn by celebrities such as James McAvoy and Sharleen Spiteri. Despite his success, Trackie remains focused on being authentic and challenging barriers in the art world. He believes galleries need to give more opportunities to people from different backgrounds. His 'Soft Play' exhibition will be open until April 2026 at Charleston.