Uig Open 2021/22 (Winter online show)
70 artworks
Atlantic Junk by mary may
Atlantic Junk by mary may
1 / 70
By mary may
Acrylic
h: 60 w: 80 d: 4 (cms).
This is a painting i made in response to the increase in junk which is washed up on our beautiful beaches which has been thrown overboard from fishing boats. I was brought up in a fishing village on the North east coast of Scotland and now reside in Edinburgh. I spend a lot of time on my visits back north in trying to pick up some of the plastic, twine, netting, rubber gloves and boots, boiler suits and plastic containers and flagons. When I was little and growing up in the 60's the beaches were our playggrounds and they were clean and beautiful. No children play there now, and they are full of rubbish and litter.
£560
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'HERE & NOW • 13' by geoff stear
'HERE & NOW • 13' by geoff stear
2 / 70
By geoff stear
Mixed Media including collage and paints on water-colour paper.
h: 72 w: 50 d: 1 (cms).
£750
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'HERE & NOW • 14' by geoff stear
'HERE & NOW • 14' by geoff stear
3 / 70
By geoff stear
Mixed Media including collage and paints on water-colour paper.
h: 40 w: 55 d: 1 (cms).
£750
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Notnave I by william dick
Notnave I by william dick
4 / 70
By william dick
Mixed Media on Panel
h: 100 w: 100 d: 6 (cms).
My paintings record my interest in reconciling different and often estranged qualities and ideas. I work through an experimental evaluation of the co-influence or confluence of organic and geometric, texture and structure, density and transparency, the sensuous history of paint and the austere tradition of minimalism.
Within the context of abstraction, namely geometric and organic, I begin with the fundamental balance between tone, shape and line. I have drawn on ancient symbolic shapes from my Scottish background and I am influenced by the symbolic power of simplest forms of drawn lines such as the circles, concentric circles and spirals of Pictish and Celtic Art. Linear elements in my work derive from this source as well as from African and Aboriginal Art, Abyssinian Warrior Shields and Russian icons, and other lines and shapes that retain, in the broadest sense, some significance within culture. I begin from observation of geological form and the substance of land; of dust, sand, mud and rock as well as the outcrop of local street furniture/ architecture; weather and the effects of weathering, and then of the often extreme and exotic colour of lichen, peat and mosses.
I have drawn on ancient symbolic shapes from my Scottish background, which has led to an interest in circles, concentric circles and spirals that appear repeatedly throughout Pictish and Celtic Art.
£4000
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Darkness Retreating 2021 by elizabeth wood
Darkness Retreating 2021 by elizabeth wood
5 / 70
By elizabeth wood
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In Retrospect. 2/18 by christine sloman
In Retrospect. 2/18 by christine sloman
6 / 70
By christine sloman
lithograph and monotype
h: 28 w: 23 (cms).
In Retrospect is essentially about looking back into the past, and about how our memories ebb, flow and evolve in much the same way that tidal water does
£145
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EILEANNACH / ISLANDER by calum lawrence
EILEANNACH / ISLANDER by calum lawrence
7 / 70
By calum lawrence
oil/ acrylic/ ink
h: 84 w: 59 d: 1 (cms).
Eileannach is an example of ourtsider art constructed outwith the formal system of art schools. It exists to express the essential Island archetypes of the sacred and the profane.
£500
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Towards the Summer Isles by kirstie behrens
Towards the Summer Isles by kirstie behrens
8 / 70
By kirstie behrens
Etching
h: 48 w: 96 (cms).
The Etching tripych shows a large bouy that I found on the shore between Achiltibuie and Polbaig. The print was shown as part of my Degree Show in Duncan of Jordanstone College of Art and desgn, Dundee in 2019.
£350.00
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ERODED by gill thompson
ERODED by gill thompson
9 / 70
By gill thompson
original collagraph
h: 45 w: 27 d: 3 (cms).
Eroded is part of an experimental body of work created during Lockdown. It is based on a series of sketches and photographs made at Garry beach on the Isle of Lewis of the rhythms and patterns created by the receding tide as it moulded the sands around the base of rocks and boulders.
The collagraph is printed with Cranfield inks on Somerset 300 paper.
£320
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Retired by stephan-maria aust
Retired by stephan-maria aust
10 / 70
By stephan-maria aust
Giclee Print on Hahnemühle BrightWhite Fine Art Paper
h: 35 w: 81 d: 1 (cms).
This work is part of the cycle "La Tristesse" I started with mostly urban views, now adding rural perspectives to the topic.
£750
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Raided BlackBird Nest And Crow Feather, Isle of Lewis by john maclean
Raided BlackBird Nest And Crow Feather, Isle of Lewis by john maclean
11 / 70
By john maclean
Photographic print from film negative
h: 25 w: 38 (cms).
£170.00
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Rosa Centifolia by colin brown
Rosa Centifolia by colin brown
12 / 70
By colin brown
Acrylic and Collage on panel
h: 120 w: 80 d: 2 (cms).
This is a legal scale work created in earlier this year.
It utilises multiple images in a nod to the repeat imagery of Andy Warhol.
It is fully framed in a beautiful bespoke frame
£3500
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Sentry by sheila anderson hardy RSW
Sentry by sheila anderson hardy RSW
13 / 70
By sheila anderson hardy RSW
Sumi-e ink washes and watercolour
h: 84 w: 95 d: 2 (cms).
Rooks are often overlooked deemed common and unimportant. This is not true and I have simply celebrated this resiliant corvid. Perched, as they so often are, mid winter on a bare hawthorn surveying the countryside for opportunities.
£1400
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Boreray by alice macmillan
Boreray by alice macmillan
14 / 70
By alice macmillan
linocut
h: 71 w: 60 (cms).
Linocut print 'Boreray' featuring Northern Gannets diving for mackerel. Boreray is an uninhabited islands in the St Kilda archipelago. The printed image measures approximately 60 x 71 cm. It is an original, hand signed artwork and will be printed in black on 52 gsm Sunome Senaka paper.
£420
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LandUse 2 by polly kelsall
LandUse 2 by polly kelsall
15 / 70
By polly kelsall
Hand woven textile (Harris wool), dried peat on paper, pin, wood and tacks
h: 52 w: 28 (cms).
LandUse 2
The handwoven textile is woven in Bristol using Harris wool. The wool provides the distinctive Harris landscape colours along with it's texture and smell creating an individual piece of fabric.
Small quantities of gloopy peat are collected from various peatbanks worked by family members and used to create expressive marks on paper once I am back in Bristol. The peat is applied wet and dries out - the final effect is a rich brown, textured expressive mark.
The rapid peat markings on the time consuming woven piece creates a piece with contrasts that evokes Harris and it's various landuses.
LandUse 2 is personal but it is also way bigger that that. It is about time and place, it is about the environment local and global, it is about the impacts that humans have on the landscape.
£250
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A Mermaid's Purse by john elcock
A Mermaid's Purse by john elcock
16 / 70
By john elcock
Lead
h: 26 w: 6 d: 2 (cms).
Hebridean geology shares more in common with North America than England, the Atlantic a mere stream between cultures, its marine inhabitants close cousins.
This Mermaid's Purse was provoked by a re-reading of Moby Dick and re-imagining the beached whaling vessels of Nantucket. Yet it also secretly connects to the beaches of Uist with the inclusion of a dyed blackbird skull within, giving silent voice to a European songbird and an artistic nod to the enigmatic work of artist Steve Dilworth on the Isle of Harris.
£200.00
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'Highland Clearances' by william wallace B.A. (Hons).
'Highland Clearances' by william wallace B.A. (Hons).
17 / 70
By william wallace B.A. (Hons).
oil paint, resin, acetate print & found objects
h: 40 w: 40 d: 8 (cms).
The theme of the 'Clearances', (which also affected the Scottish Islands), was a subject that I personally wanted to highlight as some of my ancestors were forced to leave their land.
I often include symbolism in my work and the images and actual objects in this piece, hopefully add to a more tangible link to this tragedy from our past.
£250
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Lobaria pulmonaria by antoinette luchessa
Lobaria pulmonaria by antoinette luchessa
18 / 70
By antoinette luchessa
Paper, acrylic paint, watercolor and thread.
h: 30 w: 40 d: 7 (cms).
Lobaria pulmonaria, or tree lungwort, is lichen which is found in lush, damp, coastal regions including the Outer Hebrides and Western Isles. Once plentiful, the presence of this species indicates healthy, old growth woodland. Its distinctive appearance resembles lung tissue, hence the name. Tree lungwort was once plentiful but is under threat now due to climate change.
My piece, Lobaria pulmonaria, is a 3-D paper representation of this important species.
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Heartbrake Fully Engaged by solomon jessie
Heartbrake Fully Engaged by solomon jessie
19 / 70
By solomon jessie
Pastel on paper
h: 21 w: 29 (cms).
It was impossibly hard to leave; a large part of me did not.
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Theatre de la Mode Ecosse by sandra murray
Theatre de la Mode Ecosse by sandra murray
20 / 70
By sandra murray
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The Shoreless Ocean #1 by lin chau
The Shoreless Ocean #1 by lin chau
21 / 70
By lin chau
etching ink on somerset printing paper
h: 30 w: 48 d: 2 (cms).
Monotype
Image size: 10 x 29 cm
Float mounted with natural wooden frame and glass
Printed at Glasgow Print Studio
£360
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Promise by rebecca styles
Promise by rebecca styles
22 / 70
By rebecca styles
oil on canvas
h: 100 w: 150 d: 1 (cms).
This work has been forming in my subconcious and waiting to be painted for some time . It is the culmination of many days observing the interaction between cloud , land mass and ocean . I am particulary drawn to the way the sky is able to engulf and suffocate the tallest of mountains one minute and be cleared away on the wind to reaveal a crisp sillouette the next . In the Hebrides this is an almost daily occurence and for me as an islander has become a signal of both hope and an icon of danger approaching , the title promise allows us as viewers to determain which .
£1700
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New Ways Through- Cuimhnich, Remember by catherine sargeant SSA
New Ways Through- Cuimhnich, Remember by catherine sargeant SSA
23 / 70
By catherine sargeant SSA
Ink and acrylic on board
h: 23 w: 23 (cms).
Since 2020 I have been altering books using paint and collage to document the changing sky and where it meets at the Horizon, often reflecting on the view towards the outer Hebrides. The words in the artwork come from the words left exposed on the altered book. These initial observational documentations are then taken to the studio to be developed into paintings of varying sizes. This present series is from a book with the altered title 'New Ways Through'. This unframed artwork juxtaposes gloss with flat metallic areas. on views from Wester Ross out to the horizon. The painting plays on reflections and has areas of gloss contrasting with flat metalic areas.
£245
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New Ways Through-Linger by catherine sargeant SSA
New Ways Through-Linger by catherine sargeant SSA
24 / 70
By catherine sargeant SSA
Ink and acrylic on board
h: 15 w: 15 (cms).
For 2 years I have been altering books using paint and collage to document the changing sky and where it meets at the Horizon, often reflecting on the view towards the Outer Hebrides. The words in the artwork come from the words left exposed on the altered book. These initial observational documentations are then taken to the studio to be developed into paintings of varying sizes. This present series is from a book with the altered title 'New Ways Through’.
This artwork juxtaposes areas of Matt with areas of iridescence and includes the word linger.
£175
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Incantation by liza carelli
Incantation by liza carelli
25 / 70
By liza carelli
Silver gelatin photographic print
h: 21 w: 30 (cms).
Analog film footage from the west of Ireland, part of the project Hibernia.
£200
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Dùn Àrn, Sound of Harris by michael faint
Dùn Àrn, Sound of Harris by michael faint
26 / 70
By michael faint
Photographic print
h: 20 w: 20 d: 1 (cms).
This photograph is part of a continuing photographic meditation on the Outer Hebrides (and particularly Uist) without resorting to, amongst other traits, cliche and sentimentality.
The image is a direct continuation from work shown at the Uist Arts Association 2021 Summer exhibition at Taigh Chearsabhagh in North Uist and acts as a bridge to introduce multiple exposure photography as a narrative device.
These works have a linear progression from a series which explored lockdown in a small island community using photography to represent the wind that blows across the islands. The project and techniques will be developed further through the coming months.
This photograph of Dùn Àrn (Dùn-Àarain), a small islet in the Sound of Harris, while clearly evoking early photographic techniques, is thoroughly digital in both it's capture and outlook. As the image was made with specific post processing in mind, this influences the way in which it is composed on site.
The photograph is printed by the artist on 220gsm 100% cotton rag fine art paper with mounting also undertaken by the artist. Mount size is 20 x 20cm, image size 11 x 11cm.
This is a single edition print produced exclusively for this exhibition. Delivery free to UK/EU.
£100
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Summer Isles by kirstie behrens
Summer Isles by kirstie behrens
27 / 70
By kirstie behrens
Etching
h: 16 w: 67 (cms).
My etching shows the view onto the Summer Isles from the mainland looking South.
£100.00
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Isolation on Uist by carla regler
Isolation on Uist by carla regler
28 / 70
By carla regler
Digital/Photography
Small croft house sits ashore the rugged Uist coastline as heavy skies fill the horizon.
Art interpretation of 'Isolation on Uist'
Photographic and digital image capturing the Hebrides moods.
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The Minch to Skye by margarita williams
The Minch to Skye by margarita williams
29 / 70
By margarita williams
Indian Ink
h: 35 w: 45 d: 2 (cms).
The view to the Minch and Skye from Quidinish my home village in the Bays iof Harris .I love the changing light and passing cloud formations, a daily inspiration.
£300
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Scarista by caroline fraser
Scarista by caroline fraser
30 / 70
By caroline fraser
Digital photography
h: 32 w: 48 (cms).
Double exposure photograph of Scarista beach, Harris, showing the shells of the sea shore and the view across the bay.
Printed on Fotospeed Signature fine art 315g cotton paper. Image 32x48cm. Unframed print. Edition of 15.
£125
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Shifting Tides_Camas Uig by rhea banker
Shifting Tides_Camas Uig by rhea banker
31 / 70
By rhea banker
Digital
h: 15 w: 15 (cms).
Impressions of the time I spent exploring the tidal changes around Camas Uig, watching and walking the sands at different times of day and exploring the coastal textures surrounding the water.
£100
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Scarista Lazybeds, ( Feannagan Scarasta) by margarita williams
Scarista Lazybeds, ( Feannagan Scarasta) by margarita williams
32 / 70
By margarita williams
Indian Ink
h: 54 w: 73 d: 2 (cms).
Inspired by those Lazybeds again! Indian ink on watercolour paper.
£550
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Eoropie Beach by monika mayer
Eoropie Beach by monika mayer
33 / 70
By monika mayer
Hessian, acrylic, shells, sand, flotsam
h: 26 w: 35 d: 2 (cms).
This picture has been created by sewing together several hessian sacks to try and create a visual effect of waves. It was then prepared with gesso and painted with acrylics and adorned with sand, sea shells and some flotsam found on Eoropie beach, Isle of Lewis.
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Stacking Peat_Leodhas by rhea banker
Stacking Peat_Leodhas by rhea banker
34 / 70
By rhea banker
Digital
h: 8 w: 8 (cms).
This image reflects the rhythms, the lines, the textures of piles of peat, stacked on the moorlands of Leodhas
£100
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Feannagan , Scarista. by margarita williams
Feannagan , Scarista. by margarita williams
35 / 70
By margarita williams
Indian Ink
h: 60 w: 76 d: 2 (cms).
This is one of one of my favourite water based mediums . It is quick to dry so you must work fast and intuitively ...many do not work out. I enjoy it in its dark intensity but that water can be added to creat the tones.
The Feannagan or the common term "Lazybeds "mark the landscape all around me . They are a reminder of human toil of my ancestors cleared from the fertile lands of West Harris and the Island of Pabbay ,some to leave as did my great great grandfather and fiour of his sons and their families for the Eastern Townships of Quebec. My great grandfather one of two brothers who remained , toiled on the land , and sea, made shoes, (We were known as "Clann a' Ghriasaiche,) ,raised children, raised sheep ,chickens , a cow or two .. My grandmothers scraped the rocks for crotal ( lichen) and used the vegetation to create the dyes for the wool , spun and wove the tweeds . They lived with colour and the fruits of their labours in close neighbourliness and faith .
Though eroded now by weather and overgrown with rush and heather they are still visible when shadows lengthen, as a constant reminder of where we came from . ..and I love the patterns they make !
£1200
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Cliff by catherine yeatman
Cliff by catherine yeatman
36 / 70
By catherine yeatman
Watercolour peat and ink on paper
h: 40 w: 40 d: 1 (cms).
Mounted and framed painting. Image size 26x26cm. Frame size 40 x 40.
£275
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Stones, The Secrets Within by Pamela de Brí
Stones, The Secrets Within by Pamela de Brí
37 / 70
By Pamela de Brí
Etching, edition of 20
h: 50 w: 70 (cms).
Eight Plate etching on Hannemeule Paper
Idea based on prechristian Standing Stones found in the Celtic areas of Western Europe
£350
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BLOCKHEADS by jim roseveare mr
BLOCKHEADS by jim roseveare mr
38 / 70
By jim roseveare mr
sand, cement, debris
h: 32 w: 23 d: 8 (cms).
Reminiscent of The Easter island heads, Blockheads talks of the distant past . . a past of rock formation, of evolution and the rise of homo sapiens. What then of the future?
The sculpture is not for sale but 25 limited edition prints are available for £125 each.
Edition: 1/25 PHOTOGRAPHIC PRINTS.
Signed Edition of 25. Hahnemühle Photo fine art paper 21 x 29.7 cm
£125
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Those who came before us by Nicky Sanderson DA, HDFA (Slade), VAS
Those who came before us by Nicky Sanderson DA, HDFA (Slade), VAS
39 / 70
By Nicky Sanderson DA, HDFA (Slade), VAS
Silkscreen
h: 70 w: 90 (cms).
This is the second in a series of 4 screenprints which depicts early human intervention on the landscape of Lewis. The field systems that were present before the Calanais Stones were raised are drawn onto the molten rock base colours of the print. The archeological record of tools and vessels lie discarded and ghostly in the foreground, and the winter and summer moon cycles are acknowledged.
£350
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Rock forms, Isle of Lewis by john maclean
Rock forms, Isle of Lewis by john maclean
40 / 70
By john maclean
Photographic print from film negative
h: 25 w: 38 (cms).
£170.00
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us and them by åse vikse
us and them by åse vikse
41 / 70
By åse vikse
Woodcut
h: 21 w: 70 (cms).
'us and them' is inspired by the Callanish stones, loosely based on a photo taken in 2017 when I visited the Outer Hebrides with my husband.
The islands and their inhabitants far out from the land became an unforgettable experience and we found ourselves captured by the uncompromising nature – just like the steadfast stones.
The stones in this woodcut print can be seen as a collective unity or as unique individuals, but are slowly reduced to obscure figures behind a blurred filter which may allude to the environment they have been positioned in.
It addresses the invisible gap between humans and how we often perceive others who may be different, but ultimately are – the same.
The woodcut is carved from a plank found in a Golders Green street which reflects the honesty and a somewhat reluctance from the wood to become a piece of art.
The discarded object enters the process and becomes exalted as a result of being seen and valued.
£250
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A Road Less Travelled by sarah bold
A Road Less Travelled by sarah bold
42 / 70
By sarah bold
oil on cradled board
h: 30 w: 23 d: 2 (cms).
During the pandemic, in between lockdowns, there was a huge influx of visitors to the Scottish Highlands. The surge in tourism was very much needed and welcomed during such tough economic times, yet it also became a double edged sword as the reality of the numbers was realised. People weren’t just seeking a ‘holiday’, they were seeking an escape, a sense of anonymity and in some cases sadly, an abandonment of responsibility. A sense of isolation and natural beauty makes folk feel understandably free, but for some also unaccountable - and once they are gone it is the landscape itself that records their trespasses and bares the brunt.
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ST ELMOS FIRE by lisa mcgann the brook
ST ELMOS FIRE by lisa mcgann the brook
43 / 70
By lisa mcgann the brook
mixed medium photography
h: 40 w: 60 d: 5 (cms).
St. Elmos fire is a homage to the men and woman of the sea, who lishened to folklore and magic seraching the night sky for signs of guidance,for hope for land, the hearth or the fire is the hub of the home, so the seat of power burning on the beach like the fires of old warning of war or invaderes dotted alone the coastlines communicating across the sea,screaming to the skies, a last hope,a last sign, a light home across the waters.
£2500
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Lost Ships by gill russell
Lost Ships by gill russell
44 / 70
By gill russell
matt ultra on foamboard
h: 125 w: 100 d: 7 (cms).
Lost Ships
Lost Ships
Hundreds of ships were wrecked around the coasts of the Long Island. A map and poems represent the loss of cargo and human life – to the sea and weather, war, or navigational error. The white dots represent shipwrecked in the coastal waters of the Outer Hebrides. They create an outline of the land against the black background. There are two accompanying visual poems in the blog which were mounted on the wall in vinyl (Taigh Cearsabhagh) and as prints (an Lanntair).
The blog gives a lot of context :https://www.gillrussell.co.uk/p/lost-ships.html
£300
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Agnes by tamar chatterjee
Agnes by tamar chatterjee
45 / 70
By tamar chatterjee
Oil on Canvas
h: 75 w: 110 d: 5 (cms).
In the world we live in today, a looming darkness on the horizon seems to be ever present. As we face a seemingly endless barrage of tempestuous waves, let us remember that what lies just beyond yet another approaching crest, out of view from our present vantage point, is the calm of a trough, and that one cannot take shape without the other.
Every time we find ourselves isolated and lost in a wilderness of despair, we must remember that the absence of light does not signify its non-existence, for the reality of existence is not bound solely to that which is seen. Humanity as a whole has lived, and more importantly survived, through turbulent times in ages past, navigating its way through storms employing faculties both seen and unseen - acting as one, in perfect harmony.
Inspired by my numerous visits to the Outer Hebrides, the harmonious relationship in the dichotomous co-existence of darkness and light that forms the backdrop of what we see in the eyes of Agnes - an eternal hope and faith in the unseen.
£5479
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Disassembled Bicycle by jonathan macdonald
Disassembled Bicycle by jonathan macdonald
46 / 70
By jonathan macdonald
Marker and fineliner
h: 21 w: 30 (cms).
Each drawing starts out with a series of random main shapes and lines; for this particular piece, I have used stencils for the main structures, with the rest of the design being done freehand.
Contrasting colours are selected before finer details are slowly added in. I try to include both natural and man made elements. The title was suggested by a family member and it is now what I see.
£395
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FRAGMENTS 21 by ray rankine
FRAGMENTS 21 by ray rankine
47 / 70
By ray rankine
ACRYLIC ON CANVAS
h: 61 w: 51 d: 2 (cms).
This painting is one of an ongoing series of works using marks, textures and colours suggested by found material including objects and photographic imagery. Combined with bits of text from lines of poetry or sometimes advertising copy they explore ambiguities of meaning under the working title ‘Words fail me’.
£800
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Scarista Bay by mary low
Scarista Bay by mary low
48 / 70
By mary low
ink and acrylic on khadi paper
h: 18 w: 18 (cms).
one of a series of 'sketches' made whilst travelling the west coast of the Western Isles.
£150
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Sp500 by andy metcalf
Sp500 by andy metcalf
49 / 70
By andy metcalf
Acrylic on paper
h: 26 w: 41 d: 1 (cms).
Part of a process I have undertaken in 2021 as part of a communiuty of artists in a Turps scheme. It is part of longer term project of experimenting with abstract structure; narratives; and various methods of painting.
£200
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Harbour Series 1 by irene blair
Harbour Series 1 by irene blair
50 / 70
By irene blair
Oil on paper mounted onto stretched canvas.
h: 48 w: 60 d: 2 (cms).
this painting was painted during a few weeks staying in Leverburgh this summer. It is the first one of a series. Oil was an excellant medium to use when the weather wasn't so clement.
£450
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Harbour Series 2 by irene blair
Harbour Series 2 by irene blair
51 / 70
By irene blair
Medium Oil on paper mounted onto stretched canvas
h: 30 w: 40 d: 2 (cms).
This painting was painted during a stay in Leverburgh this summer. Oil was an excellant medium to use when the weather wasn't so clement!
£300
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Islands by barry idris jackson
Islands by barry idris jackson
52 / 70
By barry idris jackson
Acrylic and collage on paper
h: 30 w: 30 d: 4 (cms).
An abstract work derived from memories, drawings and photographs of a trip to the Outer Herbrides in 2019
£475
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Sea, Rocks by david knight
Sea, Rocks by david knight
53 / 70
By david knight
Acrylic, Charcoal, Collage paper
h: 107 w: 82 d: 3 (cms).
The paintings are a response to the Hebridean coastal landscape. Paint is encouraged to run and flow across collaged paper edges, echoing seawater running and pooling across the beach and rock surfaces. Coastal light, textures and colour are suggested through the gradual layering of paint, this process also forms an implied open depth and space within the painting. The organic collaged outer edges of the paintings echo land forms and rock structures and echo the movement and rhythms of the drawn charcoal lines within the painting. The paintings are lyrical in nature, they aim to offer a sense of the coastal energy, colour and light.
£1300.00
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ST KILDA MAILBOAT by james sinclair
ST KILDA MAILBOAT by james sinclair
54 / 70
By james sinclair
Polymer clay
h: 15 w: 10 d: 4 (cms).
Sculpture depicts the launching of the St Kilda Mailboat, a practice devised bt John Sands a member of an Australian crew who were shipwrecked there around 1876. Laterly comprising of a sheepskin bladder tied to a small wooden boat containing messages in a bottle with a letter asking the finder to post it to its destination with a penny being enclosed for onward postage. Letters from four out of every six bottles were estimated to reach there destination. The sculpture is based on an old photograph taken at that time.
£250
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The Ghost In The Machine by june sira
The Ghost In The Machine by june sira
55 / 70
By june sira
Pastels and tempera on canvas
h: 100 w: 120 d: 3 (cms).
A young girl lying on a couch with her iphone. Drawn with pastels and charcoal on primed canvas.
£5300
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Looking In To Ice by sonja witts
Looking In To Ice by sonja witts
56 / 70
By sonja witts
Ink on Wenzhou China Paper
h: 80 w: 50 d: 1 (cms).
Ink on Wenzhou China Paper
£450
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Little Light Hill by sonja witts
Little Light Hill by sonja witts
57 / 70
By sonja witts
Watercolour/stick on paper
h: 150 w: 150 d: 2 (cms).
Watercolour/stick on paper.
£650
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SMELL OF SNOW by anna-lise horsley
SMELL OF SNOW by anna-lise horsley
58 / 70
By anna-lise horsley
acrylic on paper
h: 40 w: 30 (cms).
This piece is from my series SMELL OF SNOW.
£200
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Winter Moor by sam boughton
Winter Moor by sam boughton
59 / 70
By sam boughton
Ink and pastel on paper
h: 80 w: 100 d: 1 (cms).
This painting is inspired by the rugged and wild landscape of Southern Harris. I created a large area of space in the composition to suggest the scale of the landscape and its expansive feel.
The painting was created on location then final touches were added in the studio.
£1200
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Corner by tsuki liang
Corner by tsuki liang
60 / 70
By tsuki liang
Oil on canvases
h: 61 w: 150 d: 3 (cms).
A Triptych finished in 2021 with a complementary poetry.
Corner
Emotions that I feel are real, but I can’t describe them with words properly.
Thoughts that I understand are deep, but I’m unable to describe them with words completely.
Things work in their own way, the same as me: my mind, my impulse, my instinct……
I think I’m a bit tired.
I want to lie on the floor like I have dead already.
I want to blend into the light with the rest of everything.
Corner, corner.
You are ordinary just like me.
Corner, corner.
You are my marvellous Muse.
Ineffable.
Let me turn off the light.
And shh.
£1500
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Eoropie Skate Park by craig buchan
Eoropie Skate Park by craig buchan
61 / 70
By craig buchan
Analogue Photography
h: 40 w: 60 d: 4 (cms).
Part of a project documenting contemporary island life in Scotland.
£195
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Visiting Venus by rosemary everett
Visiting Venus by rosemary everett
62 / 70
By rosemary everett
Photographs on rice paper, Collagraph, Concertina book binding (handmade waxed paper, book cloth, Yupo paper, digital prints)
h: 18 w: 19 d: 12 (cms).
Artist's book celebrating a walk to see and sketch the "Venus" sculpture by Steve Dilworth in the grounds at Marchmont House in the Scottish Borders, where I spent a month on residency in April 2021. The Collagraph on the cover plays with the very dark stone of the sculpture, reversing it into an airy, white shape. The photos explore Venus’s relationship with the surrounding trees. The focus is varied to play with and transform the texture and light of the surface, echoing the sculpture's reference to the planet. The patterns in the reflections of the many wonderful trees at Marchmont seem to change constantly. The photos can be moved around the pages of the book to play with their colour and light.
£60
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