Scottish artist Craig Mulholland’s eloquent new series “Grandes et Petites Machines,” 2006–2008, spanned three Glasgow venues—Sorcha Dallas gallery, the Mackintosh Gallery at the Glasgow School of Art, and the Glasgow Film Theatre—before touring to Spike Island, Bristol. Exhibiting wall-based “paintings” made of polycarbonates etched on drilled aluminum or applied to wood and drilled pegboard, sculptures, and computer-generated animations under a title that refers to large-scale historical paintings of the nineteenth-century French Salons, Mulholland reflects on what to many of us seems