Tide Lines

I make paintings to communicate my thoughts and feelings, because I can rarely find the right words. This is often how I explain my motivation to paint and create, I find I can make more sense of the world around me through shape, colour and line. I do, however, consume all the words I can from a huge variety of talented writers, often in books but especially in the form of songs. At all points in my creative process from walking in the landscape to painting in my studio, my earphones feed me with wonderful inspiring words.

When I received an email from Tide Lines, a band which features strongly in my playlist, at the start of the year, it felt like a perfect collaboration. There are many parallels in our inspirations, landscape and place, the west coast of Scotland, thoughts of belonging and reflection about our place in the world. From “feel the breeze of the Hebrides” to “An ocean full of islands” the lyrics of Tide Lines songs evoke such strong imagery and emotion, so I was really excited to create something specially for the band. After a few video calls and discussions, about the (amazing and beautiful) lyrics and themes of the new album, my ideas for the cover artwork began to flow.

My paintings are made up of many layers, each needing to dry overnight before the next can be laid down. This forces a slowness and thoughtfulness to the process, allowing time to consider my next moves on the canvas. It also means I work on many paintings at one time, building layers of paint, pattern and marks - I ended up making three finished works for this project! Translucent watery shapes, overlapping and flowing into each other, bringing thoughts of peaceful reflection, togetherness and hope. Marks of journey and movement, glistening light, the passing of time. As often appears in my work, these organic elements are connected by the assurance of a solid form, an anchor point in the chaos.

My hope is that the final painting, which has now formed the cover of the album, goes some way to communicating, in a visual way, the stunning music and lyrics Robert, Ali, Gus and Ross have created.

I have also been delighted to see the creative ways that the painting, marks and paint strokes have been used by the Tide Lines team so far - the graphics for the ‘Written in the Scars’ and ‘These Days’ lyrics videos are so cool! Thank you so much to every one of the Tide Lines team, it’s been an absolute pleasure to play even a small part in this new album and such an exciting time for you all.

Hear more about the album and artwork in this lovely behind the scenes video from the band.

Tide Lines - The Making of “An Ocean Full of Islands”

National Museum of Scotland

I’m absolutely honoured to have had one of my artworks commissioned by National Museums Scotland, as part of the Contemporary Collecting programme, to be held in the permanent collection.

Originally commissioned for the new Isle of Raasay Distillery in 2017 (the original still hangs in the lounge of the distillery) this piece shows the geological map of part of the island and celebrates the deep connections between the whisky, landscape and community.

Raasay Geology 2022 - acquired for the permanent collection at the National Museum of Scotland

a fair field and no favour

In 19th century Britain men and women inhabited, what was thought of at the time as, ‘separate spheres’. This gender ideology rested on a patriarchal model, where power and privilege were reserved for men. The idea of ‘natural’ male supremacy, with women considered physically and intellectually weaker and best suited to a domestic sphere. Educating women was not considered to have any value and opportunities for seeking employment limited.

separate spheres + enlightenment, sampler

When the young Sophia Jex-Blake decided to pursue a career as a doctor and applied to study medicine in 1869, she chose the University of Edinburgh for the city’s enlightened and liberal attitudes towards education.
Sophia did not seek preferential or special treatment for women who wished a university education but simply an equal opportunity to do so; ‘a fair field and no favour’

She received an initial rejection from the University Court, along with fierce opposition from many staff and students, on the grounds that the university could not make the necessary arrangements “in the interest of one lady”. Sophia therefore advertised in The Scotsman newspaper appealing for more women to join her, which they did. The Edinburgh Seven, as they would come to be known, successfully applied and became the first women to be matriculated to a British University.

Sophia Jex-Blake, Mary Anderson, Isabel Thorne, Edith Peachey, Emily Bovell, Matilda Chaplin and Helen Evans.

The women’s time at the University of Edinburgh went anything but smoothly. They had to arrange their own lectures, receive tuition in separate classes from men, pay higher fees, and as they demonstrated their abilities in their studies hostility towards them only grew. A defining moment in the women’s fight took place on 18 November 1870 as they arrived at Surgeons’ Hall to sit their anatomy exam. As they approached the building they were faced with a large angry crowd of students, and several hundred onlookers, who threw mud and rubbish as well as insults at the women. ‘The Surgeons’ Hall Riot’ was widely reported in the press, leading to increased awareness of the Edinburgh Seven and their fight for equality in education.

detail of central panel: significant buildings, hand embroidered

Discrimination from the university continued and in the end the women were unable to graduate in Edinburgh, instead travelling to Bern and Paris to gain their degrees. However, the campaign of the Edinburgh Seven, led by Sophia Jex-Blake, put the rights of women to a university education on the national political agenda. Legislation was put in place, the UK Medical Act 1876, to ensure women could study medicine at university. In 1894 the University of Edinburgh allowed women to graduate, with the first doctors graduating in 1896.

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In this work I explore transitions and relationships between people and place, light and dark, patriarchy and domesticity, equality and inequality and how the collective power of enlightened women can brighten the fabric of society.

The fight for equality goes on to this day, with many women and girls across the world still without the right to an education. The campaign that these seven women began in Edinburgh in 1869, however, was a defining moment in the progress of equality.

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a fair field and no favour, in situ, 2019

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a fair field and no favour, in situ, 2019

Photography by Cadzow Pelosi

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This work was commissioned by KPMG as part of the workplace transformation of their Saltire Court premises in Edinburgh.

My thanks to:

The wonderful women of Michael Laird Architects & Interior Design, Esther & Hazel, for their inspiration and enthusiasm from the very start of the project.

Dr Elaine Thomson of Napier University, for bringing her research to life. It was during Elaine’s talk on the history of women in medicine, that the images started to form in my head. I was also privileged to see a rehearsed reading of ‘Edinburgh 7’, a new musical being developed by Jordanna O’Neill, John and Martin Keilty, in which Elaine set the scene with her words.

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The promise of all that sea...

“Sanday - The promise of all that sea, but anchored in the knowledge of a return home”

A view of these islands in the north with shape and colour communicating the geological make up of the landscape. Colours observed and taken directly from this place, the blues in the sea and sky, white gold sweeps of the sand and lush greens of the fields and machair. 

The island provides the anchor with equal prominence give to the vast seas stretching from the shore. Stepping further into the water stitched contours of the sea bed are revealed and strong strands of wool, anchored at Scar beach, reach out to the possibilities it holds.  

Commissioned textile work. Referencing nautical charts, geological maps, the client’s own expeditions and the colours discovered on location.

Sketchbook on Sanday, Orkney

Geological Survey of Northern Ireland

Celebrating 70 years of the Geological Survey of Northern Ireland. This artwork takes inspiration from the geological map of Northern Ireland, using Scottish Harris Tweed and Northern Irish woven cloth from Mourne Textiles.

Textile work, artist talk and subsequent touring exhibition with British Geological Survey.

Isle of Raasay Distillery

Textile art commission for the VIP Lounge in Isle of Raasay Distillery. The first legal distillery on the island of Raasay.

Photograph courtesy of Anne Hunter Interiors.

When I began my research for this work it soon became clear that this was a very special project. Spirit had been distilled here illicitly for generations, but this would be the first legal distillery on the island. 

The Hebridean isle of Raasay lies off the east coast of Skye. Just 14 miles long and 3 miles wide (at its widest point), this is a small island with a tremendously rich history.

The topography and geology is unrivalled in its beauty, character and complexity. A landscape formed by ancient Lewisian Gneiss to the north with Torridonian Sandstone, igneous lavas and granite to the south.

A once thriving crofting community of around 900, sadly a victim of the Highland clearances, the population of Raasay now stands at 161 (according to the last census). A history best captured perhaps by one of the most significant Scottish poets of the 20th century, Raasay born Sorley MacLean in his poem Hallaig. You can hear Sorley read his poem here in the song of the same name, by the incredible and deeply missed young Scottish musician Martyn Bennett. 

The story behind the new distillery is inspiring, deeply rooted in the place, the landscape and the community. From the mineral rich water which flows over the volcanic rock, down through the sedimentary to an ancient well on site; the local peat and plans to grow their own barley on the island; the re-use of stone and wood from the site in the building itself, to the employment and involvement of many in the community. 

Of course I had to make the trip to Raasay to explore the landscape and have look around the, almost completed, distillery! We were met by Visitor Experience Manager, singer and writer, Iain Hector Ross on the ferry from Sconser. Iain very generously gave us not only a tour of the distillery but also of the island, telling us lots about the history of the place. 

The key locations explored in the artwork include the area where the distillery is situated, with the 19th century Victorian villa Borodale House at its heart, the Broch at Dun Borodale and the distinctive flat-topped volcanic summit of Dun Caan. 

The colour palette is, as always, directly inspired by the landscape. The many shades of green, brown and rust we experienced during our autumn visit to the 'island of the red deer'. The incredible rich blues and greens in the view from the distillery windows across the sound to the mountains of Skye - quite possibly the best view from any distillery in Scotland. 

Isle of Raasay Distillery is now open to the public for tours and the stunning accommodation available to book, where you'll find my work hanging in the beautiful executive bar & lounge and in one of the luxurious bedrooms.

Thank you to Isle of Raasay Distillery and Anne Hunter Interiors for commissioning me for this project. The building itself is just beautiful, a perfect combination of historical and contemporary architecture, with interiors brought back to life through sympathetic restoration and a modern Scottish vision. The result is a stunning place to visit and spend time in.

I'm grateful to have had the opportunity to play a small part in this project and wish the distillery and community all the very best for its success.

Irvine Townhouse

For the re-opening of Irvine Townhouse to the public.

Commissioned by North Ayrshire Council.

Townscape, bordered by sea, bisected by river, combined with the inward and outward migration of significant historical figures who helped shape the town.

When I was commissioned to create a piece of artwork to hang in the newly restored Irvine Townhouse, I took a slightly different approach than to my previous work. In addition to researching the physical shapes and make up of the landscape, I also looked to the human history of the town to create a map which speaks of the people as well as the landscape.  

The development project integrating the historic Townhouse and the new modern Portal leisure facility, references a link between the old and the new in it’s concept and architecture. This link is strong in Irvine. Designated one of Scotland’s ‘New Towns’ in 1966, to improve housing and employment, Irvine has in fact been settled since the 12th century and was given Burgh status in 1140. The River Irvine played a large part in the success of the town with the port being the third largest in Scotland up until the 18th century. Many local industries, mills, shipbuilding, export and engineering, thrived here until the mid 20th century.

I felt the river should be the starting point for my artwork, the focal point from which the town has grown. Cutting the shapes of the landscape from Harris Tweed, a cloth with a history and heritage of its own, following the twists and turns of the river flowing through the town. Embroidering the streets, I thought about the people who have lived, worked and travelled through this place. There are many famous names associated with Irvine and I discovered that each room in the Townhouse has been named after one of these people. Scotland’s national bard Robert Burns, poetess Jean Kelly, Christian poet and hymn writer James Montgomery, author and entrepreneur John Galt, businessman and philanthropist John Ferguson, Ross Tollerton and Captain Harry Sherwood Ranken both recipients of the Victoria Cross. On reading further I learned of the global reach from Irvine through just these seven individuals. Careers, lives and achievements that stretch from the town to many other parts of Scotland, France, Canada, South Africa, New York and Asia, to name a few. 

I have represented each person on the map with a different coloured thread, rooted in Irvine but reaching, stretching and connecting around the globe. The colour palette I chose for the threads in the map takes inspiration from the original mosaic floor at the entrance to the Townhouse, shades of blue, yellow, russet, and white. Striking against the contemporary grey blue tweed, a palette drawn from the silver birch and waters of the river. 

I hope to achieve in this artwork a feeling of history and heritage, the cloth, craftsmanship and story, within a dynamic contemporary image. Celebrating the joining together of the old and the new.

Inspired by Islay

Artwork and essay focussing on the geology of the Scottish island of Islay.

The Marmalade

Perle Hotels Group have a commitment to sourcing interesting, ethical and local work to add character to their properties.

A series of textile island maps for each of the bedrooms in the beautifully renovated Marmalade Hotel, Portree, Isle of Skye.