'Determined to overthrow the sentimental 'kailyard' stereotypes of the day, Flourish Studio exposed the bitter pettiness of commercial greed and provincial Scottish life as they had come to know it.' (Kurt Wittig in "The Scottish Tradition in Literature" commenting on George Douglas Brown's 'The House with the Green Shutters').

Keith Farquhar, Lucy McKenzie and Alan Michael share Flourish Studio, a self-titled hotspot within the Glasgow art community. Unsatisfied with locally inherited values and sensibilities, Flourish Studio is using this opportunity to bring to Athens an example of young Scottish art evolving through an authenticity that refuses cosy narratives and flabby conceptual fetishisms. All three artists relate to the surrounding cultural environment with an idiosyncratic yet sophisticated stance. Their relationship to one another goes beyond mutual respect towards a synchronized non-verbal knowingness for each other's predilections.

Keith Farquhar re-appropriated abstract designs taken from social science textbooks from the 60's and 70's, which he then re-worked in marker pen strokes on canvas. For this show he continues his so-called 'Charisma Poems' - lyrical texts manipulated on Microsoft Word Art and displayed in custom-made frames. They function at a point where the utilitarian message becomes embarrassingly personal and allow the artist to unload his otherwise unusable poetic baggage.

Lucy McKenzie uses painting with all the ambiguousness / specificity of its hanging to signify aesthetics too grandiose to be contained within a small gallery namely mass ornament, pageantry and Totalitarianism, most frequently in a politicized Olympics.

Alan Michael has lately borrowed characteristic features from other artists' work - e.g. the nudes of British artist Lucien Freud to make new drawn and painted collages. His work generally involves mediating various combinations of acquired art / cultural images and the construction and transmission of persona.