Hulabhaig : Uig Open 2021/22 (Winter online show)

Atlantic Junk

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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Atlantic Junk

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'HERE & NOW • 13'

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'HERE & NOW • 14'

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Notnave I

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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Notnave I

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Darkness Retreating 2021

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In Retrospect. 2/18

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

£95 (Unframed)

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In Retrospect. 2/18

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EILEANNACH / ISLANDER

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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EILEANNACH / ISLANDER

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Towards the Summer Isles

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ERODED

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

£275 (Unframed)

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ERODED

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Retired

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Raided BlackBird Nest And Crow Feather, Isle of Lewis

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Rosa Centifolia

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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Rosa Centifolia

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Sentry

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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Sentry

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Boreray

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

£350 (Unframed)

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Boreray

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LandUse 2

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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LandUse 2

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A Mermaid's Purse

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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A Mermaid's Purse

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'Highland Clearances'

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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'Highland Clearances'

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Lobaria pulmonaria

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Heartbrake Fully Engaged

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Theatre de la Mode Ecosse

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The Shoreless Ocean #1

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

£300 (Unframed)

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The Shoreless Ocean #1

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Promise

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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Promise

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New Ways Through- Cuimhnich, Remember

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- Cuimhnich, Remember

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New Ways Through-Linger

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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New Ways Through-Linger

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Incantation

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Dùn Àrn, Sound of Harris

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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Dùn Àrn, Sound of Harris

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Summer Isles

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Isolation on Uist

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The Minch to Skye

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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The Minch to Skye

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Scarista

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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Scarista

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Shifting Tides_Camas Uig

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Scarista Lazybeds, ( Feannagan Scarasta)

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Eoropie Beach

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Stacking Peat_Leodhas

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Feannagan , Scarista.

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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Feannagan , Scarista.

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Cliff

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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Cliff

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Stones, The Secrets Within

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

£350 (Unframed)

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Stones, The Secrets Within

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BLOCKHEADS

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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BLOCKHEADS

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Those who came before us

By Nicky Sanderson DA, HDFA

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

£250 (Unframed)

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Those who came before us

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Rock forms, Isle of Lewis

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us and them

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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us and them

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A Road Less Travelled

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ST ELMOS FIRE

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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ST ELMOS FIRE

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Lost Ships

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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Lost Ships

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Agnes

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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Agnes

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Disassembled Bicycle

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

£375 (Unframed)

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Disassembled Bicycle

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FRAGMENTS 21

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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FRAGMENTS 21

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Scarista Bay

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Sp500

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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Sp500

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Harbour Series 1

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 1

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Harbour Series 2

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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Harbour Series 2

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Islands

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

£375 (Unframed)

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Islands

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Sea, Rocks

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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Sea, Rocks

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ST KILDA MAILBOAT

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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ST KILDA MAILBOAT

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The Ghost In The Machine

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Looking In To Ice

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Little Light Hill

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SMELL OF SNOW

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Winter Moor

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

£750 (Unframed)

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Winter Moor

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Corner

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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Corner

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Eoropie Skate Park

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Visiting Venus

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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Visiting Venus

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The Hirta Portfolio

By susan wilson

Etching, screenprint and handmade folio case

h: 20 w: 25 d: 3 (cms).

The Hirta Portfolio comprises a suite of 5 poems by Bill Duncan which commemorate the history, culture and evacuation of St Kilda, each one accompanied by an etching by Susan Wilson. The etchings reflect the content of the poems but were not intended to be pictures of the poems; instead they convey her personal response to the writing and contain historical detail discovered through her own research.

The poems are indvidually screenprinted as are the interleaves of a translucent Japanese paper - details from a map of the Village Street with the poems, a line from the poems as the title for the etchings.

The loose pages are held in a handmade folio case, the front lining of which is an old map of the island, the back lining lists the names of those who left the island in 1930 and the houses in which they lived. Each of the limited edition of 36 is dedicated to one of them.

£350

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The Hirta Portfolio

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Arctic Fox

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Bidean nan tighearna | Cleadail

By eòghann maccoll

Acrylic, perspex, wood, founnd wire

h: 17 w: 23 d: 5 (cms).

this is a studio piece made following a VACMA supported Residency at Sweeney's Bothy at Cleadale on the isle of Eigg in October 2019. It refers to the rock, bidean nan tighearna, that is in the ridge, above Cleadail.

£450

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Bidean nan tighearna | Cleadail

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Aer Nullius 1

By veronica vossen BA Hons, MA, DFA (Doctorate in Fine Art)

Polymer Intaglio

h: 42 w: 59 (cms).

Aer Nullius is a polymer intaglio print. The image is drawn from the artist's Tellus Nullius series of work, centring on a 3 channel video installation. Aer Nullius is the title of the visual narrative of one of the 3 video channels on the 3 spheres of the Earth - Aer, Terra & Oceanus.

The term Nullius refers to the concept of territory unclaimed or unowned. It highlights the understanding that we are tenants and custodians of the planet and its ecosphere, not owners. It behoves us to protect and sustain, not exploit and destroy the 3 biospheres and their lifeforms.

Polymer Intaglio is a new and experimental process for me. It is a form of photogravure that is based on a photographic image but is produced through processes related to etching and intaglio printing, The 4 colour CMYK is an extended technique.of this process.

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Aer Nullius 1

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Monoscape

By sara sonas

Ceramics

h: 8 w: 60 d: 40 (cms).

Landscape - Monoscape

Observing, analysing and responding to daily life through dialogue with nature, I placed my surrounding environment in a micro-perspective, and extracted organic material to evoke the concept of cyclicity.

With this fragile and fragmented composition of nature, I reflect on existence, transience and our relationship to nature. A puzzle-like game of geometric shapes and lines creates a dynamic structure in which the space becomes essential part of the work.

This generated space with the clean aesthetic minimalism and flatness of reliefs mimic our contemporary lifestyle; the in-visible space refers to the absence of physicality and detachment from the natural world.

£600

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Monoscape

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Too Late

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The Persistence of Vision

By paul holmes

Video

h: 1 w: 1 d: 1 (cms).

The Persistence of Vision was inspired by the way, in contemporary life, that text seems to have become a pre-eminent form of communication, and yet appears so inefficient at delivering nuanced information. In this 'filmed' screenplay, each word flashes on and off on a ticker, and seems to 'persist' in the mind's eye as the next one appears, creating a continuity of sense for the viewer/reader. The work appears to be dependent in its aesthetic on the 'persistence of vision', which, although now evidently discredited as a physiological phenomenon has nevertheless been widely considered within film criticism to be the foundation of the aesthetic of cinema itself.

The script, which was written by the artist, revolves around a lonely Gaelic-speaking boy in the nineteenth century Outer Hebrides, whose obsession with his reflection leads him into conflict, jeopardy, and finally friendship with an English-speaking incomer girl. The narrative is preoccupied with ideas of looking (as is the cinema), selfhood and otherness and, as neither character can speak coherently to the other, about the inadequacy of language.

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The Persistence of Vision

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Tiugainn Dachaidh

By fraser macbeath

A/V

The Outer Hebrides are among rural communities throughout the world experiencing population decline. Out of any Scottish local authority region, The Outer Hebrides is where this is most significant. From 1901 to 2001 the population has fallen by 40% . More recent figures show that population is predicted to decline by a further 16% between 2018 and 2046 while the rest of Scotland is set to increase by 2.4%. The Outer Hebrides comprise more than 70 islands but only 15 remain inhabited today.

This work uses footage recorded in abandoned houses, field recordings from the Isle of lewis and Scottish archival audio in order to give an immersive experience of the loss currently being experienced there.

List of archive material used available on video link.

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Tiugainn Dachaidh

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