There is a lightness of touch in Devlin’s work. We encounter it in the use of conversation for instance in Drazen where Devlin and a friend sit at a café drinking coffee and discussing the nature of coffee and the performance of its making. His friend speaks of a coffee maker whose reputation draws people to seek him out to taste the magical combination of flavours and to experience its philosophy, by implication becoming something of a quest. He speaks with a persuasive authority lightly subverted when we discover he himself has never tried it, only heard about it and been drawn by the allure.

Bosnian Subtitles

Two men sit at a table, sipping coffee and talking fitfully about art. The man on the right is thoughtful and anxious, wondering aloud what art is and whether he can legitimately call himself an artist. The man on the left, a more sceptical and irreverent character who has, apparently, little interest in either of those questions, tries at first to reassure his companion but soon loses patience and finally throws a glass of water in his face.

Bruce McLean (born 1944) is a Scottish Sculptor (performance artist) and painter.

McLean was born in Glasgowand studied at Glasgow School of Art from 1961 to 1963, and at St Martin’s School of Art, London, from 1963 to 1966. At St Martin’s, McLean studied with Anthony Caro. In a reaction to the attitude of the latter he began making sculpture from rubbish.

McLean has gained international recognition for his paintings, ceramics, prints, work with film, theatre and books. McLean was Head of Graduate Painting at The Slade School of Fine Art London He has had numerous one man exhibitions including Tate Gallery in London, The Modern Art Gallery in Vienna and Museum of Modern Art, Oxford. In 1985 he won the John Moores Painting Prize.